Word: broadway
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Dates: during 1950-1959
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...Madrid's Lourdes Hospital came an urgent cry: "Quick, bring candles!" The power had failed, the lights were out, and a surgeon, halfway through a cancer operation one night last week, was left in total darkness. On Madrid's Gran Via, the Spanish capital's Broadway, neon-lit theaters darkened, shop windows went black. Stumbling through the darkness, Madrileños cursed the latest and worst of a series of major cuts in the city's electricity supply. It was the same throughout most of Spain. A season of parching droughts had left the reservoirs empty...
...either new, or outside of the much done realistic tradition, the whole company is forced to create rather than mimic. If Harvard becomes known for a theatre atmosphere that demands initiative and creative ability it will sooner become respected than groups that continue to turn out replicas of Broadway...
...began to take notice of the productions. Even before the Workshop began Edward Sheldon's play, Salvation Neil, written while Sheldon was still an undergraduate in Baker's course, was discovered by the great American actress Mrs. Minnie Maddern Fiske and with her interpretation enjoyed a considerable run on Broadway. Soon after, with the founding of the HDC and its presentation of several plays written for Baker's courses, a number of Boston producers became seriously interested in the plays being created at Harvard. With the founding of the Workshop, John Craig, producer at the Castle Square Theater in Boston...
Tragedy of Hormones. When in 1920 his father saw his first Broadway hit, Beyond the Horizon, a bitter domestic drama, he grumbled: "Are you trying to send the audience home to commit suicide?" But the audiences seemed to enjoy the beating they took. In the ripe years 1920-35, O'Neill made almost $1,000,000. Three plays (Horizon, Anna Christie, Strange Interlude) won the Pulitzer Prize, and in 1936, he became the second American (after Sinclair Lewis) to win the Nobel Prize for Literature...
Cameo Theater (TIME, June 26, 1950). He thinks his television job is more exacting than directing on the legitimate stage, and he sees little future for Broadway: "I get a bigger audience for my flops than Broadway ever thought of having for its biggest successes...