Word: everyman
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Dates: during 1930-1939
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...club, careful to mix its shots, has produced such classics as Everyman, Twelfth Night, Dr. Faustus; such a novelty as W. S. Gilbert's Tom Cobb, or Fortune's Toy; such modern plays as Biography, High Tor, The Petrified Forest. Last week it tackled John Webster's difficult Elizabethan horror play, The Duchess of Malfi, proved itself braver than Broadway, which last produced the play in 1858. (Two seasons ago Orson Welles planned to do it, got cold feet...
Speak of the Devil (produced by the Everyman Theatre). Johann Wolfgang von Goethe must have turned in his grave last week when his immortal Faust was produced under the title Speak of the Devil. Then again, he may have been delighted it was not called Faust...
...Everyman Theatre made no effort to give Goethe's masterpiece the least shred of dignity or meaning. With a leering eye on the box office, it resurrected the Urfaust, that youthful first draft which Goethe himself threw into the wastebasket, and made it the basis for most of the play. To exploit its elephantine slapstick and bawdry, the Everyman sold its own soul to Hellzapoppin: threw in wisecracks about F. D. R., created the impression of medieval monks doing the shag, started a Yale cheer, thought up lines like "Calling all angels." The result was a muddled farce which...
...song Joyce has played a characteristic trick. Besides reminding readers that they are in for an Irish evening, his title might be taken as a simple declarative sentence meaning that Finnegans wake up. Hence the implication: ordinary people (such as his hero) do not; the nightmare existence of Everyman ends merely in a deeper sleep...
...more elusive quality of "theatre." Profound, or even provocative, it never was; the play is effective just because it treats the idea of death simply, concretely, familiarly. The appeal of Playwright Sutton Vane's imagination is not its incandescence or daring, but its deep kinship with Everyman...