Word: atkinsons
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...unpublished plays of the late Eugene O'Neill will eventually provide a deeper understanding of the recluse dramatist's personal and family problems, according to Brooks Atkinson '17, drama critic for the New York Times, and Harry Leo Kozol '27, clinical associate in Neurology, two of O'Neill's few close lifetime friends...
...Atkinson, who terms O'Neill "America's greatest dramatist," first became acquainted with the playwright in 1920 and remained a lifelong friend. "The unpublished manuscript I know of," Atkinson explained, "is 'A Touch of the Poet', which is probably locked up in the Random House vault...
...last two years of his life," Atkinson noted, "he was ill and saw almost nobody. Eugene O'Neill was a very reclusive person. But I was very much surprised by the shocking lack of sentiment at his death...
...seven critics' reviews are read with scriptural attention on Broadway, even though the majority feel "our responsibility is not to the theater but to the public." Says Chapman: "I write for an audience of one-a tough one: me." Atkinson, Kerr and the Post's Richard Watts have a similar "personal" yardstick. The Mirror's Robert Coleman ("My readers consider me a ... shopper for them"), the Journal-American's John McClain ("My duty is to tell my readers whether or not a show is worth the price of a ticket") and the World-Telegram...
Some of them unjustly blame the newspaper critics for that state of affairs, though, as Atkinson points out: "The only power in the theater is on the stage; it is put there by authors, actors and directors. The critic can only transmit that power to the public." In any case, the critics themselves are as uneasy about their influence at the box office as theater people are. For this influence. Producer (The Remarkable Mr. Penny packer) Robert Whitehead thinks the theater it self is often to blame. Said he: "We blow up the critics. We make them important. Two days...