Steppes of Central Asia ("Sands of Time") Symphony No. 2, Movement 1 ("Fate") "Polovtsian Dances" from Prince Igor ("Bazaar of Caravans", "Not Since Nineveh", "Stranger in Paradise", "He's in Love", "Samaris' Dance") String Quartet No. 2, Movement 2 ("Baubles, Bangles and Beads"), Movement 3 ("And This Is My Beloved") , Movement 4 ("Was I Wazir?") , Movement 4 ("Gesticulate") "Serenade" from the Petite Suite ("Night of My Nights") Act III trio from Prince Igor ("The Olive Tree") "Aria of Khan Konchak" from Prince Igor (Introduction to "Gesticulate") "Aria of Vladimir Galitsky" from Prince Igor ("Zubbediya") Act II scene with Ovlur from Prince Igor ("My Magic Lamp") Productions Original production Kismet premiered in Los Angeles and then moved to San Francisco in the summer and autumn of 1953. A successful change during the tryouts was to transform the character of Hajj from being merely a beggar to also being a poet. Charles Lederer became producer as well as book writer. The production moved to Broadway on December 3, 1953, playing at the Ziegfeld Theatre. The director was Albert Marre, with choreography by Jack Cole and sumptuous settings and costumes by Lemuel Ayers. The original cast starred Alfred Drake as the poet Hajj, Doretta Morrow as his daughter Marsinah, Richard Kiley as the young Caliph of Baghdad, Henry Calvin as the Wazir and Joan Diener as Lalume, the vampy wife of the evil Wazir. Bodybuilder Steve Reeves played the wizard's guard, a mute role. Bill Johnson later took over the role of Hajj, and Elaine Malbin the role of Marsinah. The show opened on Broadway in the midst of a newspaper strike, and since newspaper reviews were unavailable, the producers used television advertising to promote the show. The musical caught the popular attention and ran for a successful 583 performances, winning the 1954 Tony Award for Best Musical. The strike may have ultimately assisted the popularity of the show, since the reviews, arriving a few weeks after the opening, were not all favorable. The critic of Time magazine, punning on the name of the composer Borodin, disparaged the score as "a lot of borrowed din." Walter Kerr wrote that "It's the sort of show that would sell its soul for a joke, and the jokes should be better at the price." William Hawkins, however, wrote that it was "noisy, spectacular, and vigorous. ... It is melodic and gay". Bloom and Vlastnik noted