Word: cheryl
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Dates: during 1938-1938
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...young Theatre Guild actors persuaded the Guild to let them put on some experimental plays (Red Rust, Roar China), soon found their aims so divergent from the Guild's that late in 1931 they set up on their own as the Group Theatre. Directing the new enterprise were Cheryl Crawford, Harold Clurman, Lee Strasberg. Summers were spent in the country rehearsing, refining, inhaling the Group aroma. The Group, so the story goes, played father to its children, studied their habits, even investigated their sex lives...
...Living (adapted by Hardie Albright from the book, I Knew 3,000 Lunatics, by Dr. Victor R. Small; produced by Cheryl Crawford). The theatre, having investigated slums, hospitals and prisons in recent years, last week turned its attention to an insane asylum. All the Living takes a steady, unhysterical look at the inside of an overcrowded, understaffed state institution, makes no attempt to prettify the facts, none to magnify the horrors. The mad, like the sane, have their differing personalities, and in an atmosphere vocally more suggestive of a bird shop than a human habitation. All the Living runs...
Early last fall came a parting of the ways. Amicably clashing over policy, Crawford and Strasberg withdrew from the Group, Clurman remained. Cheryl Crawford set up as her own producer, last week made her bow with All the Living. Strasberg became a free lance. Both Crawford and Strasberg represent the vanguard of the U. S. theatre; both have a background of foreign experimentalism. Strasberg, originally influenced by Actor-Director Constantine Stanislavsky of the famed Moscow Art Theatre, favors a naturalistic technique, insists that actors should "do all the small things, not worry about the big things...