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Ruth Shepley, John Halliday, and Allan Dinehart repose with moderate effectiveness on the points of this strange triangle. Vincent Lawrence is the author. The sentient spirit of George M. Cohan jigs invisibly to the cadence of the dialogue...

Author: /time Magazine | Title: The Theatre: New Plays: Jul. 30, 1923 | 7/30/1923 | See Source »

...former Governors, Cox (Ohio), Davis (Ohio), Edwards (N. J.); A. H. Smith (President N. Y. Central Railroad), Charles H. Sabin (President Guaranty Trust Co., Manhattan), John Ringling (circus man), Mr. and Mrs. Flo Ziegfeld, Mr. and Mrs. Harry Payne Whitney, Barney Oldfield, Ralph De Palma, Jim Corbett, George M. Cohan, Benny Leonard, Lew Tendler, Senator Walter E. Edge (N. J.), Princess Bibesco, Mike de Pike...

Author: /time Magazine | Title: Firpo vs. Willard | 7/23/1923 | See Source »

LITTLE NELLY KELLY?The infinite invention of George M. Cohan has again evolved a musical concoction that has stuck fast in the public fancy. Mr. Cohan, analysts observe, is not so much concerned with the elaborate beauty of his chorus and their silks as he is with his dancers and his humor. Though Nelly Kelly has danced and laughed on Broadway these many months her popularity persists...

Author: /time Magazine | Title: Summer Chorus | 7/9/1923 | See Source »

When George M. Cohan waves the American flag at the end of one of his plays staid men and stayed women are aroused to a tremendous pitch of enthusiasm. Therefore when "The Man Who Came Back" hits bottom in a low dive in Shanghai and utters the thrilling words that he is "Going to go back, every step of the way, and, by Heck, he's going to take Her with him", it is small surprise that the St. James audience think "he's. jist grand...

Author: By R. O. B., | Title: THE CRIMSON PLAYGOER | 6/6/1923 | See Source »

...Moscow Art Theatre in the matter of ensemble work in production, lessons can also be learned from the negro writers, musicians, dancers, and comedians in the matter of "pep" and chorus dancing. The standard of snappy, rapid-fire musical comedy production in this country is set by George M. Cohan. His theory is that if his productions go off with a sufficient amount of dash, have the necessary contagious "pep", the audience will not have time to think very deeply on the true merits of the piece at hand. But even Cohan could learn from Walter Brooks, the negro...

Author: NO WRITER ATTRIBUTED | Title: THE CRIMSON PLAYGOER | 5/31/1923 | See Source »

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