‘Damn Yankees’ Was A Hit Right From The Start

When “Damn Yankees” first opened in 1955, it faced an unusual problem.

Would it offend New York Yankees fans?

“Even the most ardent supporters of Casey Stengel’s minions should have a good time,” the New York Times reassured the breathless city right after opening night. “And as for the Dodgers crowd, well, you can imagine.”

Yes, we can imagine. Dodgers and Yankees fans and nearly everyone else loved this Richard Adler-Jerry Ross musical, with book by George Abbott. It ran for more than 1,000 performances (over two years) and became a successful movie in 1958.

This musical fable tells the story of a man who sells his soul to the devil in exchange for the guarantee that his beloved Washington Senators will beat the New York Yankees for the pennant. < Because of its baseball themes and sexy dance numbers, such as “Whatever Lola Wants, Lola Gets,” the show had a special appeal to one particular population: males.

Jack O’Brien, director of the 1995 Broadway revival and this touring production, was one of those males.

“I saw it in a musical tent in Michigan, and it was one of the first theatrical experiences I ever had,” O’Brien said from his office at The Old Globe Theatre in San Diego, where he is artistic director.

“This is one of the shows that called us into theater and claimed us. There was a wonderful ebullience and innocence to those shows that we have lost in our desire to create a Las Vegas extravaganza.”

“Damn Yankees” has gone on to become a staple of summer stock, yet for decades it never had a major Broadway revival.

That changed shortly after O’Brien first revived it in 1993 at the Old Globe. The revival was so successful it went on to Broadway in March 1994.

Even though it did not yet have Jerry Lewis (Applegate the Devil was played by Victor Garber), it was an instant Broadway smash. When Lewis came on in February 1995, the show got a second wind.

Lewis’ presence also vastly enhanced its touring potential, and it is now in its second year on the road. The touring version, said O’Brien, is “exactly what they saw on Broadway.”

O’Brien said he tried to keep the innocence and ebullience of the original, yet he also made many revisions to update the humor.

“I must sadly report that the original screenplay was profoundly chauvinistic,” said O’Brien. “Even Lola herself was a plaything.”

Not only did he have the playwright’s approval for these revisions, he had the playwright’s assistance. The “Damn Yankees” update was one of the final projects taken on by George Abbott before his death in January 1995 at age 107.

Many of the new lines are given to Jerry Lewis, who, as the Devil, is presented as being “outside of time.” Everybody else in the show remains in the ‘50s, but the Devil belongs to every age.

O’Brien says Lewis uses both his “spikiness” and his “impishness” in the role. Lewis plays the role far differently than Garber (and far differently than Ray Walston, who created the character). The difference was striking at first, but O’Brien said he feels “more comfortable” with Lewis’ performance now.

“Jerry’s a remarkable icon,” said O’Brien. “He certainly represents something monumental in our landscape. This show is bringing him all of the love he can handle.”

O’Brien said that after more than three years, he is still immensely proud of this show. He does not travel with the tour, but he catches up with it every few months to make sure everything is running smoothly.

“I go with my pencil poised, and 20 minutes later I’m grinning like an idiot,” said O’Brien.

, DataTimes ILLUSTRATION: Color photo

MEMO: This sidebar appeared with the story: THEATER PREVIEW “Damn Yankees” opens Tuesday at the Spokane Opera House. Showtimes are 7:30 p.m. Tuesday, Wednesday and Thursday; 8 p.m. Friday; 2 p.m. and 8 p.m. Saturday, and 2 p.m. and 7:30 p.m. Sunday. Tickets range from $33 to $43, available at all G&B Select-a-Seat outlets or call (800) 325-SEAT.