PLAYGOER

The 1945-46 theatrical season has been marked by a paucity of musical comedies and as great a paucity, in those which have appeared, of the usual cheap superficiality and bad taste that have become almost a trademark of this particular form of the American stage. Whatever precedent may have been set by "The Day Before Spring," and "Billion Dollar Baby," however, has been shattered by "Nelly Bly."

As is the vogue with musicomedies, the plot of "Nelly Bly" is based on a story which can provide variety of scene, prolific use of bright costumes, and love--in this case the story of the semi-mythical woman reporter who set out in 1889 to beat Phineas Fogg's "Around the World in 80 Days" record.

It is rather a pity that such a pathetic exhibit provides a vehicle for Victor Moore. The drab mediocrity of his role which calls for eternal petulance and peevishness makes even Moore become tiring. In the romantic lead, despite his age and figure, is that gay Casanova, William Gaxton; the obvious farce of love scenes between Gaxton and Marilyn Maxwell is sheer hypocrisy. To complete the scene Miss Maxwell hasn't the voice to sustain her in a long role and although she is one of the loveliest women alive today her costumes and heavy makeup never betray the secret.

Producer Eddie Cantor reports that packed Boston audiences are wildly enthusiastic; why is anybody's guess. fps