When ‘Queen’ Is Feverish, There’s No Lady in Waiting

When Tyne Daly’s fever hit 103 degrees, just before she was supposed to go on in “Queen of the Stardust Ballroom” last Sunday afternoon in Long Beach, there was no understudy waiting in the wings. Although theatergoers already were in their seats, Long Beach Civic Light Opera producer Barry Brown had to tell them to go home--and please come back later in the week.

Why no understudy?

“It’s not in our budget,” replied the group’s executive director, Pegge Logefeil. Besides, “at least half the audience was coming to see Tyne Daly. If we put Mary Smith on, they would be disappointed.”

She added that the brevity of Long Beach runs--in contrast to long-running commercial productions--makes it less likely that understudies will be needed. Indeed, she said this was the first such occasion since Shirley Jones got sick before a performance of “Bitter Sweet” in 1983.

CAMELOT CHRONICLES: Camelot existed “for one brief shining moment,” according to the lyric. But no one thought California Music Theatre’s “Camelot” would be this brief.

The production was initially scheduled to open in Pasadena last month. Then it was postponed until March 21-April 5, with Noel Harrison in the lead.

Now comes word that it opens--and closes--this weekend . . . in Palm Desert.

Actually, the company plans to re-mount the production in its Pasadena home, the Raymond Theatre, after the end of the season, perhaps a year from now. CMT subscribers are being asked to wait until then; refunds are not being issued.

The change in plans arose from the company’s prolonged negotiations with Actors’ Equity, according to Artistic Director Gary Davis. Equity had picketed the group’s last production, “The Wizard of Oz,” after the show went on without a union contract last fall, and negotiations were continuing as recently as last week.

Having told his subscribers that Harrison would star, Davis said he couldn’t substitute a non-union cast at the last minute. Furthermore, he had delayed the marketing of the show pending the completion of the union negotiations. And he added that “Camelot” just wouldn’t be as good as “The Wizard of Oz” was without Equity actors.

However, while CMT could postpone its own production, Davis said the group had to honor its previous commitment to bring “Camelot” to Palm Desert’s McCallum Theatre this weekend, under the auspices of Palm Springs Opera Guild of the Desert. A tentative agreement was reached with Equity on March 6, allowing the McCallum booking to proceed, and it will probably serve as the model for a long-term agreement that Davis said is “very close.”

The agreement requires 10 Equity actors per production--only half of the number required under CMT’s previous contract--but the actors will receive higher wages, said Equity Western Regional Director George Ives.

LATC LONG-RANGE: The future of the municipal theater complex that formerly housed Los Angeles Theatre Center will be discussed at a meeting of the City Council’s Arts, Health and Humanities Committee on Monday at 2 p.m. in Room 238 of City Hall.

The session arises from a motion by Councilwoman Joy Picus. A variety of players in LATC’s recent history have been invited to address the committee, and public comment also will be allowed.

Meanwhile, the building’s landlord, Adolfo V. Nodal--general manager of the city’s Cultural Affairs Department--said he’ll be there. But he said he wouldn’t discuss the specific proposals that are being submitted from potential long-term operators of the building, one of whom will supposedly be picked to take over the lease starting July 1.

Any such proposals are due by April 3, after which a committee will sift through them and make a recommendation by April 15, Nodal said. The committee, yet to be appointed, will include representatives from the theater community and from the Spring Street business district, where the facility is located.

BLACK LAB EXITS LATC: The Black Theatre Artists Workshop, formerly one of LATC’s labs, will move to the Ivar Theatre in Hollywood, according to Shabaka, its director.

The group had intended to stay inside the LATC building, but “the city reneged on promises they made in terms of funding,” said Shabaka.

“That’s news to me,” responded Nodal of Cultural Affairs. “We tried to accommodate them with everything they needed. I hadn’t heard any complaints.”

Shabaka said his group hopes to start working out of the Ivar by May, perhaps under a new name; he suggested the Brand Nubian Theatre Company as a possibility. C. Bernard Jackson, the artistic director of Inner City Cultural Center, which owns the Ivar, said the two parties had reached “a rough accord, but I have no idea what the specifics will be.”