Word: broadwayize
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Dates: during 1930-1939
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...cleverer, far more alluring is the show opened last week by Surrealist Salvador Dali. A writhing plaster castle on the outside, it shrewdly combines surrealism with sex, inside, proves that there is plenty of Broadway method in Dali's madness...
...small part of the show is owned by Surrealist Dali and Julien Levy, who runs a high-brow Manhattan art gallery; most of it by a group of oldsters with Broadway experience. Never publicity-shy, Dali, who recently broke one of Bonwit Teller's Fifth Avenue show windows because Bonwit Teller tampered with his display, is at present berating the Fair because it would not let him exhibit, outside his nuthouse, a woman with the head of a fish. Merrily upping the publicity, Dali's Dream of Venus has sent out a long press release headed: "Is Dali...
Nowadays the bustling Waring organization occupies a full floor on Broadway, where Fred holds sway like a master of ceremonies. Only other active member of the original four is Poley McClintock, who more than any other member has made the Waring band memorable, by his froggy-voiced interpolations. Fred Buck is dead. Tom Waring is still considered one of the gang but spends most of his time practicing for a debut as a concert baritone. Fred directs production, helps write continuity, coaches the gang in rehearsal ("come lively," "stay with me," "give it rapture!"), plays golf...
...prime favorite with song pluggers, the Waring band has made many tunes go strong, too (Collegiate, In My Gondola, Annie Doesn't Live Here Any More, etc.). The pluggers used to clutter up Fred's Broadway office, but now Fred has a different arrangement. He meets them once a week for lunch in a Broadway Automat cafeteria, talks over their wares, matches them for the check...
...Ballyhoo's heyday Editor Anthony wrote a musical show, also called Ballyhoo, which profited from the magazine's popularity. Wracking his brains for a new magazine idea, he hit upon the reverse procedure. With Hellzapoppin still a sellout after eight months on Broadway, Norman Anthony offered Producers Olsen & Johnson half a cent a copy for permission to use the title for a magazine.* Having little ready cash, he got a printer and a paperseller to take a chance on three issues, bought $300 worth of art, then sat down in his room in the Parkside Hotel and wrote...