Word: glazer
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...Kindred were pretentious; Clifford Odets' Night Music and Elmer Rice's Two on an Island were Boy-Meets-Girl potboilers. Hemingway's The Fifth Column was interesting for more than a title which has since become part of the language; but by the time Benjamin Glazer finished rewriting it, much of the play's realistic force was obscured by romantic nonsense. Best of a bad lot was Robert Sherwood's "There Shall Be No Night," which owed as much to the audience's apprehensiveness as to Sherwood's art, but was a frequently...
...fall of 1938 The Fifth Column appeared in book form, won critical acclaim. Producers again started dickering; to one of them according to Broadwayfarer Leonard Lyons, Hemingway angrily replied: "Fifth Column, sixth draft, seventh producer, eighth refusal." Soon after, he agreed to let Hollywood Writer Benjamin Glazer rewrite the play. Last December the Theatre Guild announced that it would produce the play, with Franchot Tone as lead. Last week (with the financial assistance of Billy Rose) The Fifth Column opened at last on Broadway...
...last week the play was anything but newsworthy: it sounded more like a familiar gramophone record about Spain than a vibrant radio voice. It also did not sound overmuch like what Hemingway had written. In Adapter Glazer's hands, it was less a personal memoir of Spain than a general tale of war. There was more drama in it, but more melodrama. Its sexual passion had been transformed into romantic love, its psychological conflicts swollen into moral crises...
...also much more romantic, and bulging with high ethical conflicts. One seems valid: the struggle in Rawlings between the idealism that made him take on a sickening job, and the nausea induced by the job itself. The other conflict-love v. duty-is old stage twaddle which Adapter Glazer could not bring to life. Despite its bold beginning, the love affair is flimsy, vaporous, unreal, nearly sinks the play. Only eloquent rhetoric holds the second half of The Fifth Column together. And nothing could be less characteristic of Hemingway than eloquent rhetoric...
...since its original conception as a double wind quintet. The composer transcribed it both for piano and violoncello and for piano and horn. It is in the latter arrangement that it will be played tonight with Willem Valkenier of the Boston Symphony as hornist. A quartet composed of Mr. Glazer, Mr. Lauga, Mr. Chardon, and Mr. Schoettle will close the program with the first Boston performance of Paul Hindemith's new Quartet for Clarinet, Violin, Violoncello, and Piano...