Word: cast
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Dates: during 1920-1929
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Mere mention that a song called "Cinderella" occurs in the first act, will explain the plot sufficiently. "Wear Your Sunday Smile" and the title song "Judy", pleasant and innocuous, are the songs sold at the door. As for the cast, Patti Harrold, dainty and unstudied, makes a charming heroine; Robert Armstrong, obviously out of place in musical comedy, a not-so-good hero. George Meeker, Edward Allen, and Frank Beaston, as Tom, Dick, and Harry, furnish the bulk of the humor, which depends more on their own antics than the rather weak book. Mr. Beaston especially stands...
...passion. The play is constructed on the episodic model (seven scenes, no act division) covers a 25-year period, many places. The title role is played by Julius Bledsoe, giant Negro whose remarkably resonant voice won instant recognition in the Stallings-Harling opera Deep River. In diction, technique, the cast is not up to high professional standard, yet the presentation is so sincere, the playwright's revelation of Negro character and tribu- lation so keen, that it merits the interest evinced by packed houses...
...mere ra- tionalization of the beastly Karamazov nature, whereupon his tower of reason topples into madness. With two love stories, these three threads are woven into an intricate stage pattern, directed by Jacques Copeau, who came to the U. S. for that special purpose, enacted by a cast including Alfred Lunt, Clare Eames, Lynn Fontanne, Dudley Digges, George Gaul, Edward Robinson. It will alternate weekly with Pygmalion...
...Free Thinkers failed to prove the validity of their case in court. Their efforts, however, give evidence that no matter how far men may get from the literal interpretation of Genesis, they must go much farther before they can cast off the bugaboos of bigotry and intolerance. An orthodox Free Thinker sounds like a paradox, but apparently he is a fact...
...support provided by the rest of the cast is excellent. M. Louis Ravet, as Louis XV, fulfills all the demands, which history makes upon his portrait. He is far outshone by Monsieur De Sax, who plays the role of the Due Debrissac, for there is a vigor to the performance of M. de Sax lending to many scenes that note of reality which the playwrights demand and which Mme. Sorel seems unable to give...