brates “passion—wild, free, and unashamed.”nIn its celebrity-chasing, itsnfixation on physical attractiveness, andnits promotion of sexual pleasure (preferablynin marriage), LH] has apparentlynrevived the editorial profile found atnCosmo 25 years ago.nGiven current trends, LHJ andnCosmo will soon both look like a combinationnof Playgirl and the WallnTHEATERnOn the Waterfrontnby Caroline MorgannSingin’ in the Rain ; Based on thenMGM film with choreography bynGene Kelly and Stanley Donen;nScreenplay and adaptation by BettynComden and Adolph Green; Directednand choreographed by TwylanTharp; Songs by Nacio Herb Brownnand Arthur Freed; Presented bynMaurice Rosenfield, Lois F. Rosenfield,nand Cindy Pritzker, Inc.nBig River; Written by WilliamnHauptmann, adapted from the novelnby Mark Twain; Staged by Des Mc-nAnuff; Music and lyrics by RogernMiller; Presented by Rocco Landesman,nHeidi Landesman, Rick Steiner,nM. Anthony Fisher, and DodgernProductions.nSingin’ in the Rain, now playing innNew York, is wonderful fun and anwitty commentary on the world ofnHollywood musicals. Unfortunately,nthe main focus of the plot—DonnLockwood’s romantic interest in sweetnaturednKathy Selden—is weak. LinanLamont, the blond bombshell whonmost definitely “ain’t dumb,” stealsnthe show completely. I kept hoping forna miraculous twist in the plot thatnwould give her a voice change, thenstarring role in talking pictures, andnthe guy.nStreet Journal. But linking the newneroticism and the new careerism is ansingle issue. “The issue,” explains ancandid recent LHJ article, “is reallynone of self—not sex. And that’s intrinsicallynlinked to finding an individualnstyle and attitude rather than adoptingnthose grounded in the past.” Rightnnow, encouraging women to cut loosenfrom all traditional commitments tonVITAL SIGNSnDon Correia plays the leading mannDon Lockwood, with impressive musicalntalent and excellent dancing. ThenNew York Times critic complainednabout his lack of sex appeal, but thenCorreia I saw exuded enough warmthnand gentleness to satisfy any reasonablenwoman.nCosmo Brown, the dancing clown,nprojected the exuberance and enthusiasmnof choreographer Twyla Tharp.nShe had the good sense to keep thenoriginal choreography of “Fit as a Fiddle,”n”Moses Supposes,” “GoodnMornin,'” and “Singin’ in the Rain.”nHer wacky and offbeat dances in ActnTwo are staged as production numbersnfor musicals supposedly being filmednon sound stages. Apparently, anythingngoes (or went) in Hollywood musicalsn—roller skates from the 18th century,na dancing horse, feet fighters, Frenchnpeasants learning to tap-dance, and anblues singer who materializes out ofnnowhere.nGordon Willis (best known for hisnwork in Woody Allen films, includingnThe Purple Rose of Cairo) filmed thenactual movies shown on stage. Hisnsense of style and his attention tonperiod detail are impeccable. The audiencenactually chuckled more duringnthe film sequences than when the livenactors were performing. PerhapsnAmericans are more comfortable withnthe two-dimensional medium of filmnthan with live theater.nAnd does it rain! The downpour atnthe end of Act One soothed the psy­nnnfamily and marriage and to indulgentheir “naughty fantasy” of self and sexnmay seem like a shrewd journalisticnstrategy. But if recent studies showingna negative correlation between readingnskills and use of pornography are anynindication, Cosmo and LHJ may soonndiscover that their former readers arentoo engrossed in video solipsism tonbother with turning pages. (BC) ccnches of drought-stricken New Yorkers.nDon Correia threw himself into thenscene with such gusto that he broke hisnumbrella. He was having such a goodntime that he barelv noticed. The audi-nFrom left: Faye Crant, Peter Slutsker, MarynD’Arcy, and Don Correia. Photo by KennnDuncan.nDECEMBER 1985 / 41n