Word: nighters
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...second act, financial disaster loomed ahead. For his abrasive wit in demolishing flimflam and fraud, his impish pride in prejudice, and not least for his ability to hone a sharper line than most of the playwrights he panned, slight (5 ft. 7 in., 130 1bs.), white-thatched First Nighter Nathan was one of Broadway's most feared and lonely figures. In a rain of newspaper columns, magazine articles and books, he aimed his dyspeptic darts at every sobersided target from Hollywood to Herbert Hoover. Yet when Critic Nathan made his final exit last week at 76, the U.S. theater...
...Soft Snore. A dull, droning speaker at best, Thurmond began by reading the texts of the election laws of all 48 states-from Alabama to Wyoming. By 11:30, Republican Everett Dirksen was passing the word: "Boys, it looks like an all-nighter." But at 1 a.m. Arizona Republican Barry Goldwater approached Thurmond's desk, asked in a whisper how much longer Strom would last. Back came the answer: "About another hour." Goldwater asked that Thurmond temporarily yield the floor to him for an insertion in the Congressional Record. Thurmond happily consented-and used the few-minute interim...
...Cornelius Melody, a drunken, frustrated Irishman who runs an inn near Boston in 1828, and lives in a dream world of past glories. "As gigantic as Long Day's Journey Into Night," wrote one critic, "but not quite so imposing and important a play." Summed up one first-nighter: "Great theater...
...took more than a dozen curtain calls. Critical reaction ranged from Svenska Dagbladet's "One of the most powerful realistic dramas written in this century," to the Morgan-Tidningen's "The most gripping picture of hell that has ever been seen in the theater." But one first-nighter grumbled that "Such drawn-out, detailed probing of personalities can only keep the interest of somebody personally involved." Another offered a new title for the O'Neill opus: Four Acts in Search of a Play...
...nighter which opened yesterday could bring up some ugly doubts. John Burrell, leading figure in the Old Vic and indeed all of British theatre, gave this year's Theodore Spencer lecture. Of the less than 80 people huddled together to hear him, surprisingly few were those familiar faces who have been clamoring so loudly for the new theatre. A vigilant Corporation member could well survey the bleak New Lecture Hall and question whether the demands have been as sincere as they have been frequent. If the dramatic groups are going to get their theatre, they had best start playing...