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The American musical has long provided an important vehicle through which writers, performers, and audiences reimagine who they are and how they might best interact with the world around them. Musicals are especially good at this because they provide not only an opportunity for us to enact dramatic versions of alternative identities, but also the material for performing such alternatives in the real world, through songs and the characters and attitudes those songs project.

\"Betty Comden and Adolph Green are legends of the American musical who have distinguished themselves as playwrights, screenwriters, and lyricists. Both born in New York City, they began their careers as cabaret performers in Greenwich Village and eventually created their own nightclub act, The Revuers, which included Judy Holliday. Their first Broadway musical, On the Town, with music by Leonard Bernstein, was a great success, and it led to a studio contract with Metro-Goldwyn-Mayer. Writing for the famous Arthur Freed musical unit at M-G-M, they wrote the scripts for various musical features including...Singin' in the Rain (1952) with Gene Kelly, Debbie Reynolds, and Donald O'Connor...\" (Michigan Quarterly Review). In this interview, Comden and Green detail their experiences in the creation and production of the well-known musical film Singin' in the Rain.

Smilin Singin Sam, who finished 10th in the Kentucky Derby, might join the field for the 119th Preakness Stakes. If Smilin Singin Sam and Looming -- also a potential starter -- run, the Preakness field would be 13, the second-biggest since 1981. In 1992, there were 14 in the race.

'Singin' in the Rain' * * You certainly could not accuse Kyle DeSantis, the producer of the Drury Lane Oakbrook's huge new production of \"Singin' in the Rain\" of failing to deliver the wet stuff -- as required for the title number and as immortalized by Gene Kelly in the 1952 MGM movie that spawned this far-inferior 1983 stage musical.

[...] director Rick Conant stuffs the show with bright, quick character sketches, many enacted by regular Muny performers.

Just remember that this musical adaptation faithfully follows the classic 1952 movie set in 1920s Hollywood, so in addition to singing and dancing, it's got a strong whiff of yesteryear about it, from the broad characterizations to the cheerfully old-school plot.

(Now showing at the Tivoli, the musical \"Singin' in the Rain\" has been restored and rereleased. The 1952 film won an Oscar for best scoring; Donald O'Connor won a Golden Globe for best actor in a musical or comedy. This is the April 1952 review by Myles Standish, Post-Dispatch film critic from 1946 to 1972.) The dancing by Gene Kelly, Donald O'Connor and Cyd Charisse is great stuff. Kelly does a solo on a rain-swept street to the title song that should rank as a classic. It has a quality of visual communication, of effervescent clowning and elan that carries a touch of genius.

[...] of your personal feelings about the common practice of using body mics on actors in musicals, you can't deny the irony: A few scenes intend to poke fun at the faulty use of microphones in olden days; a few accidentally confirm the pitfalls of using the \"vulgar gadgets\" today.

If you think the memory of the film and those performances are too strong to bear comparison, think again. Paul Robinson&primes Don Lockwood has a charismatic arrogance, Zoe Hart&primes Kathy is suger spun steel, Mark Channon&primes Cosmo is a rubber-limbed delight and Rebecca Thornhill as Lina Lamont, the star with a voice like a foghorn for whom the arrival of the talkies is a catastrophe, is just comic heaven.