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Bloomfield Hills (One mile North of Square Lake Rd.) 3384531 BY MORT ZIEVE Special to The Jewish News This week we go to New York for a review of the newest shows and quick capsules on some of the longer running ones. Song & Dance (Royale Theatre). This is the big new musical the season. Before I comment, I have to confess to two prejudices: I think Ber- nadette Peters, the star, is one of the most talented people in the theatre today; I think An- drew Lloyd Webber, the com- poser, is not. Call me envious, but I think Lloyd Webber is a mediocre, or- dinary, much over-rated musi- cian. Sure, I would give (almost) anything to have written some of his monster hits. But so much of what he does is thin and bor- ing. For example, there is a "Letter Song" here, repeated ad nauseum, that is drivel at its worst. (Gracie Allen's spoken letters to her mother had a lot more musicality.) Lloyd Webber does manage one decent song per show and that seems to be all it takes to create smash hits for him. The one tuneful, semi-original song in this score is "The Unexpected Song," and it is pretty although I doubt it will achieve the hit status of "Memories" from Cats. Bernadette Peters is some- thing else. She mesmerized me when I first saw her, years ago, in Dames at Sea, and she has captivated me in everything she's done. She takes the most obvious material and gives it depth and dimension. She has a marvelous, big voice' and she moves it beautifully between ranges. On top of that, she's a superb actress. Here Peters is called on to be the whole first half of the - show. She is on stage alone and through a series of songs suggests a series of unhappy love affairs. But, as good as she is, I'd rather see, than have to imagine, all the other char- acters. The second half of the show is all dancing, starring Christ- opher d'Amboise. -He is one of Peters' Unseen boy-friends from Act One. We know this because he wears the same red boots and red jacket that Peters clutched in the earlier part of the show. Several other dancers join d'Amboise, and they are all marvelous. The choreography is fresh, vital and exciting. The settings are colorful and con- temporary. But, as good as all the per- formers are, this comes off as more of an oh-so-clever theatri- cal trick, rather than a treat. So, I'm a spoilsport. You'll prob- ably want to see Song & Dance anyway. I'm Not Rappaport (Booth Theatre) is, on the other hand, a play. And a very funny play, at that, by Herb Gardner, famous for A Thousand Clowns. Here the play, while it works well, is not the thing so much as the stars. Judd Hirsch and Cleavon Little are simply fabul- ous. Hirsch plays an 81-year-old Jew. Little plays a 76-year-old black man. They meet daily. on a bench in Central Park and share everything from marijuana to memories. Hirsch's character is a freshly conceived "last-angry-man Bol- shevik." He's angry at his daughter because she has traded Marx and Lenin for Bergdorf and Goodman. He's an eccentric, lovable, outrageous fantasizer. Little is almost the complete opposite. He's a skeptical realist. He has learned to make the best of what life deals him, rather than flail against windmills as Hirsch does. There are some weak spots in the writing and. the resolution is less than satis- fying. But nonetheless Hirsch and Little are irresistible. As Is (Lyceum Theatre) hap- pens to be the most moving play on Broadway now. It's about a man dying of AIDS and how he inter-reacts with his lover, fam- ily and friends. The writing, acting and stag- ing are flawless. There isn't a weak moment or performance. It's been a long time since Broadway has had a serious play of this caliber. You might expect this to be a depressing experience. But, sur- prisingly, it is not. The story is of how the characters triumph over catastrophe, how they come to know, understand, and finally accept each other. You are de- eply touched. The language and situations are explicit and hon- est. If you are offended or shocked by frankly sexual mate- rials, stay away. But, if you love the theater and like to see a good, serious play, then this is definitely for you. It's a powerful theatrical experience. Big River (Eugene O'Neill Theatre) was much more charm- ing than I expected. Who doesn't know the Huckleberry Finn story? And mst of us know Roger Miller's tuneful, if not terribly original, country-style music. It all combines into a big, old-fashioned musical for a lovely, pleasant evening. Doubles (Ritz Theatre) — Four men meet regularly to play tennis. We see them in the locker room, in various stages of dress and undress (fair warning) as they change before and after the game. The humor is pretty much on the TV sitcom level, but you laugh in spite of your- self. Brighton Beach Memoirs (46th Street Theatre) and Biloxi Blues (Neil Simon Theatre) are two of the best long-running shows in New York. If you can only see two shows in New York, make it these. See Brighton Beach Memoirs first. It's the first chap- ter in Simon's autobiographical duo. Then, continue the story in Biloxi Blues, Simon's master- piece. You'll laugh your head off, you'll cry, you'll be moved. They're both great theater — comedy at its best.