Word: lovelies
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Dates: during 1940-1949
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Cinemactor Clifton Webb was one refugee from Broadway (Sunny, 1925, The Little Show, 1929) who was finding life in Hollywood exactly to his taste (see CINEMA). Being a star again, he confided to an interviewer, was "fun, a lot of fun, and I love it. There's no use pretending I'm a modest fellow . . . Some day I shall write a song called I Fascinate...
...season," were handed out for the third year. The little silver medallions went to Rex Harrison (Anne of the Thousand Days) and Martita Hunt (The Madwoman of Chaittot) for dramatic acting; Arthur Miller for writing Death of a Salesman, and Ray Bolger (Where's Charley?) and Nanette Fabray (Love Life) for their musicomedy performances...
...Broadway playgoer can spot a hit by the line at the box office. For the record, Billboard has denned a hit as a show that runs for more than 100 performances. Last week, by the formal definition, an overdressed underdog of a revue called All for Love (TIME, Jan. 31) became the costliest, floppingest "hit" in U.S. theatrical history...
Rarely has a show reached its 100th-performance milestone in spite of a hostile press. All for Love is rarer still: it got there in spite of an apathetic public. Its only impetus has come from a stubbornly stagestruck millionaire named Anthony Brady Farrell, an angel with the largest wingspread ever seen on Broadway.* In the year since Farrell took a leave from his Albany chain factory, he has spent more than $2,000,000 plunging where others fear to tread...
...house the town's plushiest and, with its silk-damasked walls, probably the gaudiest. When contractual snarls developed over transplanting Hold It!, Farrell switched from musicomedy to revue, signed up Comics Bert Wheeler and Paul and Grace Hartman, tossed in another $250,000 and put on All for Love. It was a critical flop; the New York Times''s Brooks Atkinson headlined his review: FARRELL'S FOLLY...