| Bajour | |
|---|---|
Original Cast Album |
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| Music | Walter Marks |
| Lyrics | Walter Marks |
| Book | Ernest Kinoy |
| Basis | Joseph Mitchell short stories The Gypsy Women and The King of the Gypsies |
| Productions | 1964 Broadway |
Bajour is a musical with a book by Ernest Kinoy and music and lyrics by Walter Marks. The musical is based on the Joseph Mitchell short stories The Gypsy Women and The King of the Gypsies published in The New Yorker.[1][2] The title is allegedly a Romani word that refers to a con game in which lonely and unhappy women are swindled out of their life savings.[3]
Contents |
New York University anthropology student Emily Kirsten studies the customs of the Demeschti tribe of nomadic gypsies for her Ph.D. thesis. This brings her in contact with tribal leader Cockeye Johnny Dembo. He works out of a dilapidated storefront in a Manhattan slum and needs to raise $9,000 to purchase Anyanka from the Moyva King of Newark as a bride for his handsome son Steve. Anyanka is so anxious to seal the deal she offers to stage a bajour to help finance it, and complications ensue when she targets Emily's widowed mother as her victim.
After tryouts at the Shubert Theatre in Boston,[4] and Philadelphia[5] the Broadway production opened on November 23, 1964 at the Shubert Theatre, and then transferred to the Lunt-Fontanne to complete its 232 performance run. Directed by Lawrence Kasha and choreographed by Peter Gennaro, the cast included Nancy Dussault as Emily, Herschel Bernardi as Johnny, Chita Rivera as Anyanka, Gus Trikoris as Steve, Herbert Edelman as the Moyva King, and Mae Questel as Mrs. Kirsten, with Paul Sorvino, Harry Goz, Michael Bennett, and Leland Palmer among the ensemble.[1][6][2]
The "Musicals in Mufti" series in New York presented the musical in July 2007.[3]
Tony Award nominations went to Dussault for Best Actress in a Musical and Gennaro for Best Choreography.
An original cast recording was released by Columbia Masterworks in 1964, with Lehman Engel as conductor.[1][7]
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The Billboard reviewer, in writing about the Boston tryout, noted: "'Bajour' at the moment is overlong and lacks real distinction in its treatment of an unusual theme."[4]