Thinking of the original production's two memorable and infamous logos, the first, a group of young women in skimpy nighties and scanty rompers (who certainly didn't invoke secretaries and receptionists) hanging off of a big phallic key, and the second (well into the run), a cartoonish young woman who seems to be wearing nothing but black stockings and gloves falling backwards on her behind, it would seem that the show was always intended to be something of the "tired businessman's delight" or whatever that genre of mindless sex romp was called.
So it doesn't surprise me that Fran Kubelik's inner turmoil or yearnings were anybody's priority in creating the show.
Of course, the production, with its sophisticated and contemporary Bacharach score and Michael Bennett's inventive choreography, not to mention Simon's astute libretto, turned out much more artful than David Merrick or (perhaps) even the creators ever intended. |
