POP REVIEW : DAVIDSON IN FREEDMAN FORUM ‘PREVIEW’

Old game show hosts never die--they just go to Anaheim. At least that’s the way it appears from the initial bookings at the $8-million Freedman Forum, which opened Wednesday, joining the ranks of other Anaheim cultural landmarks such as Disneyland and Anaheim Stadium.

The honor of inaugurating the 2,300-seat theater-in-the-round on New Year’s Eve went to John Davidson, host of the new “Hollywood Squares” and former co-host of the ABC-TV’s infamous “That’s Incredible.”

The theater’s official opening Jan. 13 will offer a new production of the stage musical “42nd Street,” starring Peter Marshall, host of the original “Hollywood Squares.” If only Paul Lynde were still alive. . . .

Davidson’s concert, for which he was backed by a 19-piece orchestra, was billed as a “sneak preview” rather than a grand opening. Indeed, the scent of glue from freshly laid carpet was still in the air as the affable, exquisitely dimpled Davidson mugged and cornballed his way through a lightly entertaining 75-minute set that had the earmarks and snappy pacing of--surprise!--a TV show.

Perhaps because the event was announced only last week, the facility, which stands unobtrusively next to Anaheim City Hall, was less than half-filled. The 1,000-plus people in attendance seemed generally pleased with the comfortable-but-unspectacular design of the theater. (There is not a trace of an arch to be found.)

Davidson’s performance began with such familiar pop ballads as “That’s What Friends Are For” and “The Wind Beneath My Wings” and concluded with a long medley of ‘50s hits, giving the technical crew a chance to test the house equipment. Over the course of the show, the sound mix progressed from rather harsh to moderately warm and full, if overly bright.

The loudspeakers are placed in overhead rigging, eliminating the problem of stacks of equipment on stage obstructing the sight lines, but the result is a sound quality that seems strangely disembodied at times. That quality was more noticeable with the instrumental passages.

The theater has a remarkable intimacy for its size, owing to a circular--octagonal, actually--design that leaves the last row of seats only about 40 feet from the edge of the stage--which reportedly will revolve.

The plush burnt-orange seats are comfortable and the legroom is adequate, although not what could be called ample. Some tight squeezes are encountered as patrons find their seats. There appears to be sufficient parking directly behind the theater to accommodate a full house.

Once the sound is smoothed out, the theater should offer an attractive setting for cabaret pop, folk and perhaps jazz groups. Although no other concerts have been scheduled, general manager James Woodin said that there are plans to add pop entertainers to the projected diet of musicals.