Word: busbar
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Tell Me, Pretty Maiden (by Dorothy Day Wendell; produced by George Busbar and John Tuerk). Broadway still half believes that there's a broken heart for every light on it, still cultivates the legend of the gallant trouper who smiles through tears. In Tell Me, Pretty Maiden, Doris Nolan, home from such Hollywood productions as The Man I Many and As Good As Married, squanders her talents on the part of a gallant actress, Margo Dare. The persons who get told are a bevy of reporters who interview the lustrous Margo at a cocktail party arranged by her pressagent...
Black Limelight (by Gordon Sherry; Busbar & Tuerk, producers). The villain of Black Limelight suffers from "nyctalopia." This medical term actually means an eyesight defect resulting in poor vision at night, but for the purposes of Author Gordon Sherry (a pseudonym) it refers to eyes which can see well in the dark but must be protected by thick glasses from the light of day. The monster's homicidal mania leaps up at the time of the full moon. Working in the dark, he takes off his glasses, puts on gloves, chokes the victim to death, cuts her up with artistic...
Crime Marches On (by Bertrand Robinson & Maxwell Hawkins; Busbar & Tuerk, producers) provides the first Broadway stellar role for Mary, pretty 18-year-old daughter of the late Will Rogers. It also chronicles the unearthly adventures of a rustic poet from Middle...
...Dominant Sex (by Michael Egan; Busbar & Tuerk, producers). In his lonely vigils as a seagoing radio operator, Playwright Egan has had ample opportunity to meditate the multiplicity of woman's wiles. Result is that he has practically cataloged in his first play the whole bag of tricks by which a woman gets her way. In fact, he has displayed them so conclusively that his audience is likely to feel that in awarding the final victory to his hero instead of to his heroine, Playwright Egan has turned in an extremely raw decision...
Within the Gates (by Sean O'Casey; George Busbar & John Tuerk, producers). Playwright O'Casey's fantasy prompted Manhattan reviewers to go on record as follows: "Nothing so grand has risen in our impoverished theatre. . . . It is a humbling job to write about a dynamic drama like Within the Gates. . . . The theatre is richer today than it was 24 hours ago. . . . In comparison with Within the Gates, most of the plays that have come from overseas in recent years seem but feeble little fingers poking vainly at the moon.' " Irishman O'Casey, who had been...
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