A link on Terry Teachout’s blog to a super-rare full-length kinescope recording of The Fantasticks from 1964 brought back lots of memories for me, and not just ancient ones, because I’ve seen this great Off-Broadway musical at least eight times, most recently only a few years ago with my kids. It’s a musical comedy about two young lovers whose fathers pretend to be in a bitter feud (they secretly like each other a lot) so their children will want to rebel against them and marry. The ruse works, until the young lovers find out they’d been set up, at which point a whole lot of romantic confusion and angst ensues, followed by a happy ending. The moony overtones of the story are nicely undercut by a deliberately frothy, self-consciously aesthetic staging: there is a character known as the Mute; sets and props are minimal; the orchestra consists of a piano, a small drum kit and a full-size harp.
I saw the play most often at the Sullivan Street Theater in Greenwich Village, New York City, where it ran for four decades. The 1964 kinescope now viewable for the first time is an abbreviated version shown only once on Television. Cut to an hour, the show omits a few characters and at least two songs “It Depends On What You Pay” and “This Plum Is Too Ripe”. Still, I watched the whole thing with joy and appreciation, especially relishing the chance to see the two great comic stars Bert Lahr and Stanley Holloway harmonize as the two fathers (Lahr was the Cowardly Lion in The Wizard of Oz and Holloway was Doolitle in My Fair Lady).
The viewing inspired me to finally read a book I’d ordered from Amazon last year, Les Romanesques by Edmund Rostand. This is the once-popular French comedy authors Tom Jones and Harvey Schmidt based The Fantasticks on, and I was curious to see what had and had not persisted from the original version. I was also curious to learn more about Edmond Rostand, the celebrated French playwright most well known for Cyrano De Bergerac, which he wrote three years later.
The Fantasticks, I quickly realized as I began Les Romanesques, followed Rostand’s popular play very closely. Matt and Luisa, the boy and girl, are here named Percinet and Sylvette, while the fathers Huckabee (yes, Huckabee) and Bellomy are here named Bergamin and Pasquinot. The villain El Gallo is named Straforel.
The sequence of events is almost identical between the French play and the American musical. Rostand’s original emphasizes more clearly that this fable is a direct parody of Shakespeare’s Romeo and Juliet. Both the play and musical share an effusively light touch and Bohemian attitude.
Perhaps the biggest difference in the play version is the touching, painful moment when the truth about the father’s setup scheme is revealed. In the musical version, the moment is given plain treatment: they learn the fact, are horrified, and immediately move apart. In Rostand’s version, the action moves slowly and more is revealed. The girl learns the truth first, and her first thought is to worry what will happen when the boy finds out. When they both face the truth together, the moment is drawn out for all its bitter emotion:
Sylvette: Farce, all of it!
Percinet: And I your savior! All our poetry was bought and paid for. Our beautiful bubble is now a tiny fleck of soap. Farewell, Shakespearean lovers — we have nothing in common with you!
They try to cling together, puzzling over whether they fool their fathers or their fathers fool them worse if they break up, or if they stay together. Lost in swirling confusion, they can’t figure out which way to turn, and this moment is clearly the center of the play.
In the end, I did come to understand The Fantasticks better after reading Edmond Rostand’s sweet, very slim stage drama. Which version is better? Easy: Les Romanesques doesn’t have a song called ‘Try to Remember‘.