Word: broadwayize
(lookup in dictionary)
(lookup stats)
Dates: during 1930-1939
Sort By: most recent first
(reverse)
When the New York Drama Critics' Circle gathered last week to vote this year's award, Broadway knew the choice lay between Robert E. Sherwood's eloquent Abe Lincoln in Illinois (the favorite), Lillian Hellman's biting The Little Foxes. So violent was the partisanship on both sides that neither play could muster the twelve out of 15 votes necessary to win. After ten fruitless, disputatious ballots,* a weary Critics' Circle decided to make no award. Final score: The Little Foxes, 6 votes; Abe Lincoln in Illinois, 5; Clifford Odets' Rocket to the Moon...
William Manam '41 plays the masculine lead opposite Miss Ruth Gillerman, Radcliffe '41. Miss Winifred Wellington, well known Broadway actress, returns to the stage in her first character part...
...Chicago's Marolin Corp. will control the show, re-employ its all-Negro cast of 80. They will provide new sets since the present ones, being Government-owned, cannot be bought. They will up the admission from $1.10 to a $2.20 top, move the show from Broadway's outskirts to pleasure-seeking 44th Street, opposite a wildly glaring Hot Mikado. For the Hot Mikado's Producer Michael Todd, sore to begin with because the Swing Mikado competed Against him, is now in a towering rage because he pleaded for the chance to take it over, was coldly...
...five-month hit in Chicago, the Swing Mikado made the Government $35,000; by May 1, as a two-month sellout on Broadway, it should make the Government $14,000 more. Checks for the profits are not, however, to be forwarded to the Treasury. All Federal Theatre receipts are thrown back into a general pool called "admission funds" to be drawn on for future productions. But money made in one city or region cannot ordinarily be used in another...
...most people, Greek and Roman drama is something laid away in mothballs. Yet when, with modern tailoring, it is taken out and worn, most people admire it. When Broadway roared last season at Jean Giraudoux's Amphitryon 38, it was really patting some forgotten Greek dramatist on the back for his Amphitryon 1. When Broadway flocked to O'Neill's Mourning Becomes Electra, it was saluting Aeschylus' Oresteia with a Down-East accent. And given practically straight, Aristophanes' lewd, witty Lysistrata proved a Broadway...