Word: liliom
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Dates: during 1940-1949
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...Paul Lukas, son of a Hungarian advertising man, was born in 1895 on a train just pulling into Budapest. He went to the Actors' Academy (Hungarian national theatrical school), served with the Hungarian forces during World War I, made his professional stage debut in Budapest in 1916 as Liliom. Later he was a guest artist under Max Reinhardt in Berlin and Vienna, acted in German UFA films. Paramount's Adolf Zukor saw him on the Budapest stage, got Lukas to move to Hollywood. Since then he has appeared in The Night Watch, Strictly Dishonorable, Little Women, Confessions...
Delicate Story (by Ferenc Molnar. produced by Gilbert Miller & Vinton Freedley). The famous Hungarian playwright-refugee Ferenc Molnar (Liliom, The Swan, The Guardsman) apparently has not been too depressed by a world at war. Nowadays he spends much of his time in Manhattan's Plaza Hotel bar, and he has not lost his Continental knack of getting amusement out of the idea of cuckoldry. He is amused by it in Delicate Story. which is so delicate that it almost - but not quite - wastes away. The wife of a Swiss delicatessen-keeper takes a shine to a young man about...
During the 1920s, The Theatre Guild was the most important single influence on the U. S. theatre. It may have fallen for artiness, but it also recognized art. An organization which, during its first ten years, produced Heartbreak House, Liliom, Back to Methuselah, R. U. R., The Adding Machine, Saint Joan, Processional, Ned McCobb's Daughter, Right You Are If You Think You Are and Strange Interlude could well be pleased with itself...
Heavenly Express (by Albert Bein; produced by Kermit Bloomgarden). In recent years playwrights have been busy pulling the lids off coffins. Heavenly Express plays along with On Borrowed Time, Death Takes a Holiday, The Fabulous Invalid, Liliom, Outward Bound-this time dressing Death up as a hobo...
When the Theatre Guild produced Liliom (with Joseph Schildkraut and Eva Le Gallienne) 19 years ago, it found the right tone and tempo. Last week's production does not. Not only does Actor Meredith fail to catch Schildkraut's swagger, and the sets fail to measure up to Lee Simonson's stunning original ones, but the play moves slowly, puffingly, from scene to scene-as though Liliom took his round trip to Hell and back on a milk train...