Word: cohans
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Generalissimo Buck saved his biggest guns for the last. George M. Cohan sang his Give My Regards to Broadway, his Yankee Doodle Boy, his Grand Old Flag. Then a dark little man, introduced by Mr. Buck as "the nearest thing to a genius we have in this country," walked to the centre of the stage. As Irving Berlin began singing, the audience rose, joined in the music by the hundreds, then the thousands, until 15,000 voices were swelling God Bless America, an ASCAP song...
Twelve years ago George M. Cohan and the late, great Ring Lardner pooled their talents and their mutual enthusiasm for baseball, produced Elmer the Great, a farcical saga of a rookie pitcher with an arm like a whip and a Model T brain. A story goes when Lardner first saw the show on Broadway, he was convinced that it was terrible. He acknowledged as his own only one line of the script. He underestimated both the play and his part in its conception. Elmer spoke Ring Lardners language, proved as durable as his Alibi Ike. Last week, with...
Born of a poor Irish family, probably somewhere in southern Illinois, handsome, black-haired young Delaney started his acting career about 1910. For two seasons he played the part of Blackie Daw in one of Cohan and Harris' road companies of Get-Rich-Quick Wallingjord. Playing opposite him was Mrs. Kennicott, then Olive Artelle. Delaney left the troupe in 1915 to .go to Australia, where he played the part of The Killer (see cut,p. 51)in Seven Keys toBaldpate in Josephine Cohan's company...
...this sequel to his old-time success "The Tavern", the author tells us that he is presenting an "American Melodramatic Satire". For a scant two hours or so, the Vagabond (Mr. Cohan, if you have not divined so already) directs in entertainingly unorthodox manner a very orthodox group of stage people through the intricate contortions of a melodrama to end all melodramas. Bank robbers, policemen, governors, midgets, and fascinatingly naive young ladies put themselves completely in the hands of the Tavern's unidentified guest, and he has them caper about in the fashion most likely to please his laughing audience...
...Cohan himself--he is magnificent! He grimaces, he mugs, he jigs, he philosophizes whimsically, and he gestures vigorously with his jained Rosseveitian chin. "The Return of the Vagabond" is not a good play: as a matter of fact, it makes no pretense of even being a play. However, a real hoofer will never let his audience down, and this is always good theatre...