Word: broadway
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Dates: during 1950-1959
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Romance came at last to Broadway Critic George Jean Nathan, 72, iconoclastic sniper-in-arms (in the '20s) of H. L Mencken. Announced Nathan, from Manhattan's Royalton Hotel, where he has lived as a bachelor for 48 years: he would soon marry wraithlike Actress Julie Haydon, 44, with whom he has been keeping company for 17 years. Julie last appeared on Broadway nine years ago as a wispy cripple in Tennessee Williams' The Glass Menagerie. "The best woman," Nathan once wrote, "is the inferior of the second-best man . . . To enjoy women at all, one must...
...three short plays by Noel Coward, the show started slowly with a vaudeville skit that was notable for the expertness of Ginger's cockney accent. The second playlet, Still Life, co-starred Ginger with Britain's Trevor Howard, but it lacked the pathos of either the 1936 Broadway original (starring Noel Coward and the late Gertrude Lawrence) or the movie version, Brief Encounter. But in the third number, Shadow Play, Ginger was romantically believable in the touching dream sequence. Gloria Vanderbilt posed beautifully in the small part of Ginger's rival...
...Broadway musical, Barrie's classic is chiefly memorable for Jerome Robbins' dances. Robbins is more genuinely imaginative than Barrie, and not the least bit cloying; and with his tearing Indians and tangoing pirates and stylishly prancing animals, he has contrived a succession of gay, unsugared romps. As a kind of grandly baroque Captain Hook, Cyril Ritchard demonstrates delightfully that gusto can be laced with style...
...tinkling prettiness of Tender Shepherd or the straightforward lilt of I've Got to Crow. And with the original Barrie story very much cut into but seldom seeming cut, Peter Pan comes off a bit more of a long show than a fully sustained entertainment. Barrie and Broadway are not quite an ideal couple. But their marriage has been celebrated with truly festive splash and animation...
Carmen Jones (Otto Preminger; 20th Century-Fox). The rattle of the cash register does not often serve as the drum roll of social progress. With this picture it may. Otto Preminger's Hollywood version of Billy Rose's Broadway version of Georges Bizet's grand opera seems sure to be a big hit. It also seems likely that the picture will fling somewhat wider the gates of opportunity for Negro entertainers in Hollywood. For in this picture the actors present themselves not merely as racial phenomena but as individuals, and they put across a Carmen that...