New Musical in Manhattan

THE THEATER

Memphis Bound (lyrics & music by Don Walker & Clay Warnick; book by Albert Barker & Sally Benson; produced by John Wildberg) was first conceived as a swing H.M.S. Pinafore, later converted into an extravaganza about a Negro troupe who put on Pinafore to get their grounded showboat (the Calliboga Queen) off the Mississippi mudflats. But their version proves too much for their lady producer, and she bangs down the curtain on it.

She bangs down the curtain on much the best part of the show. Though this jive and boogie-woogie romp may have Gilbert & Sullivan spinning in their graves, they can't be spinning any faster than things do on the stage while Pinafore holds it. Thereafter the show gets grounded, along with the showboat. The plot trails off, without even leaving footprints, in all directions; the people go through a lot of boisterous but baffling antics; a dream fantasia nominally involving Gilbert & Sullivan's Trial By Jury gets wedged somewhere into the proceedings.

But by being as high-spirited as it is slaphappy, Memphis Bound adds up to an agreeable evening. For one thing, it has Bill Robinson at 67 tapping superbly, still doing his famous staircase dance effortlessly, and more of a personality than ever, It also has Avon Long (Porgy & Bess) who darts and dances like a salamander with a sense of style. It has attractive girls, gay and colorful sets, brilliantly gaudy costumes, hot dance routines. There is plenty of fizz in Memphis Bound, but it ought to be better bottled.

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