I saw all three of the stars on Broadway, and though it was written for Bacall, and she was the most commanding presence, the overall best performance -- and most believable -- was Debbie Reynolds. By far. She made a persuasive case that this character Tess Harding really was a telejournalist, really had used her charm and skill and intellect to build a hard-won career. She looked like a woman who'd been on TV. That mattered. And she's a legit triple threat musical comedy star: she sings, dances, and puts over comedy. They redid "One of the Boys" for her, and damned if she didn't make it work. Watch the clips of Bacall in the number. She looks like she might break. I'm not into trashing Bacall for her singing, because I don't think that was the issue (though her rendition of the title number is, uh, something to listen to). I think she simply treated the role as someone above noted: as APPLAUSE II. I must say, she apparently blossomed anew in the road edition, and I wish I'd seen it. She had her moments.
Raquel was Vegas. She could move, she could warble, and she could not make you believe she was this woman that man Sam could end up with. Sorry, Mr. Jamie Ross, who played Sam; it didn't make sense.
I enjoy the score. Minor Kander and Ebb is better than major many other people. The pleasures are many and varied, and we've talked about them often here. It need not be revived, but I understand why everyone from Barbara Eden to (fill in the blank) scored in stock with it. The role fits a certain profile, and the trajectory in the thin story allows a lot of shtus, sturm and drang, and that ending, which is ludicrous.
I sometimes play the overture. And I love "Sometimes a Day Goes By."
"I'm a comedian, but in my spare time, things bother me." Garry Shandling