Word: caesar
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Dates: during 1930-1939
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...Mercury Theatre, which first made headlines with Julius Caesar, the season's most exciting stunt, and thereafter stayed continuously on the front page with The Cradle Will Rock, the season's most original form of entertainment; The Shoemakers' Holiday, the season's most rollicking revival; Heartbreak House, the season's most difficult play to revive. Synonymous with the Mercury Theatre was Actor-Director Orson Welles...
...sceneryless stage, which for a while scared stage designers as a nudist epidemic would scare dressmakers. It fully justified itself by making Julius Caesar timeless in its meaning, by giving Our Town the universality of Everytown...
...advance sale of $8,000 finally saw the Mercury through the opening night of Caesar, which all told cost $16,000 to get under way. After that, finances were a pleasure. Today Welles & Houseman own 70% of the Mercury which, sticking to a $2.20 top, has had an average gross of $6,000 a week, an average...
...Mercury, Houseman runs the business end, Welles is Caesar (not Brutus) where stagecraft is concerned, and in his own opinion "pretty dictatorial." Welles does all cutting and rewriting, and does it with a fearless hand. For the much-applauded episode of Cinna the Poet in Julius Caesar, Welles cooly snitched lines out of Coriolanus. When a Mercury actor was asked when rehearsals on one of the season's classics would begin, he answered: "As soon as Orson has finished writing...
...Mercury to pin all its faith on the classics: he pines to do a real mystery, a real farce, a British pantomime, a fast revue, a Mozart opera. He has shown in Heartbreak House, with its careful, elegant sets by John Koenig, that the sceneryless stage of Julius Caesar and The Cradle Will Rock was not the fetish of a flash in the Pantheon, but simply a well-timed theatrical stunt. The brightest moon that has risen over Broadway in years, Welles should feel at home in the sky, for the sky is the only limit his ambitions recognize...