FOND OF THE STICKS  Asbury Park Evening Press, Wed., Sept. 12th, 1973

Deborah Kerr on the Road Again
By MICHAEL T. LEECH

KLOSTERS, Switzerland -
"It was my idea to tour 'The Day After the Fair.' It all stems from the days of 'Tea and Sympathy' - we really went to the sticks with that one, but for me it was very rewarding to get away from New York and to play to out-of-town audiences."
Now Deborah Kerr is ready to slip onto the touring circuit again with another comfortable drama which, if its London success is anything to go by, will probably pack them in from Boston to the Shubert Theater where it will open Thursday. In this one Miss Kerr doesn't start unbuttoning her blouse at the end of the last act. Frank Harvey's play is of the pleasantly entertaining kind, perennially popular in London's West End, about an illiterate country girl who entrances a young London gent with love letters, actually written by her mistress, Miss Kerr.
" I guessed some of the London critics would be slighting of the play, " says the actress, a little wearily. Sitting on her wide terrace at Klosters with only birds, squirrels and the occasional deer for an audience, she looks extraordinarily fit and attractive, honey-blonde hair piled above a suntanned face.
" The tenor of London critics is so politically oriented. Unless it's left-wing, way-out or downright kinky you don't stand much of a chance. I feel very strongly that there should be room for everything in the theater, but either we have ridiculous farces or at the other extreme bemusing drams that most people just don't understand. " She sits up abruptly in her chair and makes a wide gesture at the ring of green mountains that surrounds her Swiss retreat.
" This play, " she continues, the jut of her jaw indicating her strong desire to do battle on its behalf, "is all about love and the lack of it. It's about ordinary, human emotions that haven't changed at all. People in London came back to see it and each time they told me they found more in it.
" Of course the generations that remember me are bound to be well represented, but many youngsters came.  One young woman arrived backstage crying over it - that gave me a considerable boost. It's so wrong that people don't feel things any more." She clasps her hands and looks toward the high slopes where arches for ski lifts leapfrog to the peaks. "It's very moving to get so much mail from young people - it proves that incredible power one has as an actress of making people feel, of getting close to them. The effort kills you, of course, and since I'm only offstage about eight minutes during the two hours and 20 odd minutes that the play runs, I'm absolutely exhausted at the end, but if it comes off, it's worth it."
For America, she says, "We are making some slight