Around the World

[Terry]

Here's the premiere episode of The Mercury Summer Theater of the Air from 1946, a shameless plug for Welles' new stage show, his legendary musical re-imagining of the Jules Verne classic Around the World in 80 Days. This was the show of which Welles lamented to Mr. Bogdanovich "Oh, Peter, I wish you'd seen it." Expensive, expansive, lush and lavish, the sheer cost would force Welles to seek financial help from Harry Cohn (in a little deal which lead directly to The Lady from Shanghai.)

A few years ago I combed through one or two recent Cole Porter biographies looking for mention of the Welles musical he scored. Yes, it was mentioned; it was stated that no records of the show survived and no one knew what any of the material sounded like. Luckily, this broadcast features Porter's songs and incidental score, performed by the original cast for a live audience who sound thoroughly dazzled to my ears.

Since Simon Callow was singular unimpressed with this episode (comparing it unfavourably with Welles' 1938 radio version, which was a different approach entirely,) I thought the evidence should have a chance to speak for itself.

http://www.box.net/shared/8rxlfuqhc4

[Glenn Anders]

Excellent, Hadji!

By my calculation, without a stopwatch, mind, that was "Around the World in 22 minutes and 12 seconds."

One can't help think that Welles was pioneering in Musical Theater, when he mixed up this clam chowder. Producer Michael Todd certainly ran with the concept to Hollywood, leaving Porter's music behind, a dozen years later.

Thank you.

Glenn

[ToddBaesen]

ORSON WELLES presents COLE PORTER'S

AROUND THE WORLD

A Musical Extravaganza in Two Acts
Music and Lyrics by Cole Porter
Book adapted by Orson Welles from the Jules Verne novel
Around the World in Eighty Days

Pre-Broadway engagements:

April 28, 1946 at the Boston Opera House, Boston
May 7, 1946 at the Shubert Theatre, New Haven
May 14, 1946 at the Shubert Theatre, Philadelphia

Opened May 31, 1946 at the Adelphi Theatre, NYC
Closed August 3, 1946 after a run of 75 performances

Produced by Orson Welles as a Mercury Theatre Production
Directed by Orson Welles
Choreography by Nelson Barclift
Costumes by Alvin Colt
Set Design by Robert Davison
Lighting by Peggy Clark
Circus arranged by Barbette
Vocal Arranger - Mitchell Ayres
Orchestrations by Robert Russell Bennett, Ted Royal
Musical Direction by Harry Levant

______________

Musical Numbers

Act One

Overture - Orchestra
"Look What I Found" - Molly, Pat, Ensemble
"There He Goes, Mr. Phileas Fogg" - Phileas, Pat
"Mee-Rah-Lah" - Ensemble
"Suttee Procession" [instrumental]
"Suez Dance" [instrumental]
"Sea Chantey" - Ensemble
"Should I Tell You I Love You" - Missus Aouda
"Pipe Dreaming" - Pat
"Oka Saka Circus" [instrumental]

Act Two

Entr'acte - Orchestra

"California Scene Dance" [instrumental]
"If You Smile at Me" - Lola (reprised by Molly)
"Wherever They Fly the Flag of Old England" - Phileas, Ensemble

__________

Cast

Orson Welles (Dick Fix)
Arthur Margetson (Phileas Fogg)
Mary Healy (Missus Aouda)
Julie Warren (Molly Muggins)
Larry Laurence [Enzio Stuarti] ("Pat" Passepartout)
Victoria Cordova (Lola)
Genevieve Sauris (A Lady)
Stefan Schnabel (Avery Jevity)
Brainerd Duffield (Mr. Benjamin Cruett-Spew, Mr. Oka Saka)
Guy Spaull (Mr. Ralph Runcible)
Bernard Savage (Sir Charles Mandiboy)
Billy Howell (Lord Upditch)
Dorothy Bird (Mee-rah-lah)
Jackie Cezanne (Lee Toy)
and
Jack Cassidy

[tonyw]

Again, Store, thanks again. If Verne's Fogg crossed the world in 80 days, Welles adapted the original novel in this approximately 22 minute version superbly making his inimitable changes to make his production a fun tongue-in-cheek experience with "your obedient servant" in the role of "Dick Fix, the copper's nark." It is much better than Robert Newton in Mike Todd's later film production.

Also Dick anticipates Welles's role in FERRY TO HONG KONG as "Singapore Cecil", another deliberate comic stereotype hiding under the mask of respectability. It was a great touch having Dick in league with Fogg's clubland associates who use him to prevent Fogg winning the bet.

This is another example of how Welles wanted to disseminate classic productiions to a wider audience in his Mercury Radio work very similar to HAMLET and other productions.