Applause

A Barry and Fran Weissler presentation, in association with Kardana Prods., of a musical in two acts with music by Charles Strouse, lyrics by Lee Adams, book by Betty Comden and Adolph Green. Directed by Gene Saks.

Cast: Stefanie Powers (Margo Channing), Kate Jennings Grant (Eve Harrington), Darrell Carey (Duane Fox), Stuart Zagnit (Buzz Richards/Tony Announcer), Janet Aldrich (Karen Richards), John Dossett (Bill Sampson), Nick Wyman (Howard Benedict), Jay Russell (Peter, The Agent), Bill Ullman (Bert), Denis Jones (Stan Harding); Belle Calaway, Bruce Moore, Lynne Morrissey, Mark Arvin, Gregory Butler, Marc Calamia, Deidre Goodwin, Jenny Lynn Suckling, Lisa Mandel, Sharon Moore, David Parker, Stepp Stewart.

Musical Numbers: "Applause," "Broadway Babble," "Think How It's Gonna Be," "But Alive," "The Best Night of My Life," "Who's That Girl?," "Fasten Your Seatbelts," "Welcome to the Theater," "Inner Thoughts," "Good Friends," "She Killed Them!," "One of a Kind," "One Halloween," "I Don't Want to Grow Old."

Applause" needs a mesmerizing star to live up to its title. Lauren Bacall originated the Broadway musical version in 1970, and of course Bette Davis earned her hand-claps in the 1950 source movie, "All About Eve." Stefanie Powers , hardly in such legendary league, has got her work cut out for her if she is to assume the mink-and-melodrama majesty of the wonderfully bitchy theatrical character Margo Channing.

Although Powers has time to grow into the role during an extended road tour on the way to Broadway, the essential niceness of her persona seems at odds with the part. Sleekly beautiful, Powers lacks the blustery self-confidence of Bacall , and seems a bit tense in the early scenes. When she descends the spiral staircase that figures so prominently in this production's set design, Powers is simply walking downstairs, not making a grand entrance.

On the plus side, Powers is a much better dancer than was Bacall. Choreographer Ann Reinking mines this advantage by devising some new dance steps in a production that contains other revisions. Powers is especially perky in "But Alive," which for better or worse evokes the mod disco scene of the late 1960s.

Such liveliness characterizes the changes made by the original creative team (composer Charles Strouse, lyricist Lee Adams and book writers Betty Comden and Adolph Green). The more effective changes include moving the title song to the opening, with Margo leading the company in an all-out celebration of a Tony Awards ceremony. A couple of added songs in the show include a new finale, "I Don't Want to Grow Old," which allows Margo to tenderly conclude the evening with the man she finally realizes she loves.

If Powers is less than stellar as Margo, Kate Jennings Grant is on the mark as Eve Harrington, the seemingly sweet woman who idolizes Margo and becomes her personal assistant while plotting her own showbiz ascension. Still, Grant should occasionally let the audience see more of the ruthlessness under Eve's surface goodness.

Also registering is John Dossett as Margo's director/boyfriend, Bill Sampson. Dossett's affable manner and solid singing voice make Bill a real catch, and his duet with Margo, "Think How It's Gonna Be," brings emotion to a production that could use more. One problem, though, is that the mature Margo makes much of the fact that her beau is a youthful 33, whereas Dossett's gray hair makes him seem like an overdue Bill.

A real crowd-pleaser is Darrell Carey, who, as Margo's hairdresser, Duane Fox , does well by the production's second new number, "She Killed Them!" Other reliable supporting players include Nick Wyman as the producer, Howard Benedict; Stuart Zagnit as the likably nebbish playwright, Buzz Richards; and Janet Aldrich as Buzz's wife, Karen.

Although director Gene Saks lets some dramatic scenes become static, this generally is not a bumpy night. The relatively spare set by Michael Anania allows for quick transitions from backstage to apartment to other locales; the lights are bright on Broadway thanks to Howell Binkley; and the costumes by Robert Mackintosh recall both theatrical glitz and disco excess.

Choreographed by Ann Reinking; orchestrations by Bruce Coughlin; music supervision and vocal arrangements by John McDaniel; dance music arrangements, Irwin Fisch, Bruno Casolari, Charles Strouse, Ian Herman. Sets, Michael Anania; lighting, Howell Binkley; sound, Peter J. Fitzgerald; costumes, Robert Mackintosh, Thomas Starzewski; general manager, Darwall Associates and Maria Di Dia; production stage manager, Martin Gold; technical supervisor, Arthur Siccardi; associate producer, Alecia Parker; casting, Stuart Howard and Amy Schecter. Opened Oct. 29 , 1996, at the Morris A. Mechanic Theater. Reviewed Oct. 30; 1,564 seats; $ 55 top. Running time: 2 HOURS, 20 MIN.

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