Word: box
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Dates: during 1930-1939
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George Hughes, 41, a Negro, stood in the prisoners' box in the courthouse at Sherman, "Athens of Texas" (1920 population, 15,031), famed locally for its cultured, 95% white people, its two colleges, 27 churches, fine schools. He pleaded guilty to the charge of assaulting white Mrs. Drew Farlow, young farmer's wife. Outside in the square milled a crowd of Shermanites and thrillseekers from the environs. They knew that: 1) No matter what the prisoner said, Texas law requires a taking of testimony; 2) Mrs. Farlow, as a witness, was to be carried to the courthouse on a stretcher...
...65th year, with pneumonia just behind him, with his doctors optimistic but warning that the Royal heart is weak, George V stood smiling and puffing in the Royal Box as the horses lined up, sucking his favorite long pale weed with relish...
...statement of its policy several times, but I cannot quite perceive the stand it takes. It first states a fact with which all thinking members of the Club are in full accord, that the Club's legitimate field of choice is among good plays which have not the box-office attraction requisite for professional production. "But in default of such, a Liliom would not be amiss." The very next sentence strongly recommends "avoiding the re-hashing of box-office successes." Does the CRIMSON mean by this that Liliom was not a box-office success? Or would the Club's production...
...down hard on the black rocks of "sub-time mediocrity." His plaint that all plays not professionally produced, or even all old plays not professionally revived are mediocre or worse is obviously groundless. The professional theatre is dependent, to a much larger extent than the Dramatic Club, on its box-office. And even the most rabid admirer of the general theatre-going public will hardly credit it with the same level of intelligence as a Harvard audience. The result of this state of affairs is that there are many plays which would not pass the pragmatic test of filling...
...solid ground that novelty-chasing is an evil; but how this applies to the most recent achievements of the Club, plays by such conventional authors as John Galsworthy and A. A. Milne, is not explained. The CRIMSON further allows that "by avoiding musical comedy or the re-hashing of box-office successes, the Dramatic Club escapes the stigma" of producing "amateur theatricals;" at the same time, however, the editorial ventures that a "Liliom" would not be amiss. The conclusion would seem to be that principles are all very well, so long as nobody applies them: that the Dramatic Club...