Word: casey
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Dates: during 1950-1959
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When you flip through the highly polished pages of The New Yorker, you sometimes wonder whether a writer's facility leads you to forget that he has nothing to say. So, too, when you see a slickly-staged job of Shadow of a Gunman, you wonder whether Sean O'Casey invokes the world's enduring sentimentality for the Irish to obscure the fact that he dwells on an incident that seems trivial, an incident that is sadly pale when set beside the heroic achievements in human terror of which people have proven themselves so capable...
...course a great writer in good form can make much meaning of scanty material. But O'Casey rather plainly hasn't, in this particular instance, and the Charles Playhouse fights a vain battle in trying to elicit dramatic tension from a turgid situation that O'Casey has told in a talky...
...Casey concerns himself with the dreaded Black-and-Tans (Were they ever anything but "dreaded" Black-and-Tans? Didn't even their mothers love them?). The dreaded Black-and-Tans busily rip the peace of Dublin, while in shivery cold-water attics, rust-thatched idealists plan a land where freedom would be free. An innocuous poet and his cowardly roomie stash some unwanted bombs in the bosom of an ample simpleton; she is torn off screaming by the dreaded Black-and-Tans, executed, and leaves the two with the empty feeling that they've been naughty, somehow, much...
Another surprise was the way Cooney Weiland handled his second and third lines. The coach shuffled his personnel with greater abandon than Casey Stengel, having Les Duncan, Bob Anderson, Greg Downes, Crocker Snow and Dick Reilly at center at one time or another. The trio that was the most successful, however, was Duncan, Collins and Paul Kelley...
...title at the top of the score"), eventually won a graduate scholarship to Juilliard, studied composition with craggy Modernist Roger Sessions. He arrived on Broadway "purely by fluke" when he persuaded Melvyn Douglas to let him write new incidental music for a Broadway production of Sean O'Casey's Within the Gates. That was in 1934, and since then Composer-Conductor Engel has had a hand in such diverse Broadway shows as Maurice Evans' Hamlet, The Trojan Women, A Streetcar Named Desire (for which he wrote incidental music), The Consul and Li'l Abner (for which...