Word: myerberg
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Dates: during 1940-1949
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...feuds have involved her best plays. She does not speak to The Little Foxes' Producer-Director Herman Shumlin and Playwright Lillian Hellman (both leftists whose rows with Tallulah were political as well as professional). She does not speak to The Skin of Our Teeth's Producer Michael Myerberg and Director Elia Kazan. Shumlin will not even discuss her. Billy Rose, who starred her in Clifford Odets' Clash By Night, is more reticent about Tallulah than he is on most topics. During that play, in which Tallulah carried on several concurrent vendettas, she referred to Rose...
...Cradle Will Rock (by Marc Blitzstein; produced by Michael Myerberg) had trouble, ten years ago, finding a stage; Washington, for reasons never explained, ordered the original WPA production to "postpone" its opening. But once Orson Welles took it to Broadway, The Cradle had no trouble finding an audience. For if brash and biased, Marc Blitzstein's "play in music" about Steeltown's big bad boss, cringing sycophants and exulting strikers had zip and the Zeitgeist in its favor. It also had a good deal of theatrical novelty: a sceneryless stage that antedated Our Town's; Composer Blitzstein...
Dear Judas (by Robinson Jeffers; produced by Michael Myerberg) offended the pious-when tried out last summer-by laying irreverent hands on a Bible story. It could hardly, however, be as sacrilegious as it is soporific. What Robinson Jeffers wrote in Dear Judas was simply a dramatic poem; putting it on the stage does nothing whatever to turn it into a play...
Lute Song (adapted from the Chinese Pi-Pa-Chi by Will Irwin & the late Sidney Howard; music by Raymond Scott; produced by Michael Myerberg) is the season's loveliest production and most charming failure. A retelling, with music, dances and pageantry, of a 500-year-old Chinese classic, it never quite catches the inner glow of art or the outward stir of theater. There should have been either less spectacle or less story. As it is, the old tale is retold at considerable length, but loses much of its flow and human feeling through gorgeous interruptions and sumptuous distractions...
...Producer Myerberg appears to have sunk a small fortune into "Lute Song" It is well produced, directed, and acted, and the play is a good one. It does not appear, however, at this early stage, that a public weaned on "Good Night Ladies" or "Carousel" will be enthusiastic over a production as unusual as this...