Word: ol
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Dates: during 1930-1939
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When Marc Connelly, under the influence of Roark Bradford's Ol' Man Adam An' His Chillun, had finished The Green Pastures, he took it to Producer Jed Harris. Producer Harris was busy with Uncle Vanya (TIME, April 21, 1930). Producer Crosby Gaige also turned down the Connelly piece and the Theatre Guild would have none of it. But the play interested Rowland Stebbins, an inactive Wall Streeter who was having a fling at Broadway under the name of "Laurence Rivers." The character of "de Lawd" in Connelly's Negro miracle play pleasantly reminded music-loving...
...tales Brer Fox and Brer Rabbit appear in their own black skins, without disguise. Negrophiles and educated Negroes may object that Author Bradford simplifies too much, sentimentalizes too often, but plain readers like his stories. Marc Connelley's The Green Pastures, founded on Bradford's first book, Ol' Man Adam an' His Chillun, was the Broadway hit of 1930, won the Pulitzer Prize that year. Let the Band Play Dixie, his latest collection, shows that his pastures are still green...
Author Bradford's Negro dialect has an authentic ring but is stamped with his own mark. In almost every book he introduces some memorable tag of nigger-talk. In Ol' Man Adam an' His Chillun it was: "Soap an' water, country boy"- deep South for Broadway's "Oh, yeah?" In Let the Band Play Dixie it is the almost untranslatable "and de doctor can't do me no good"-an expression denoting joyful determination, usually in the direction of gin or gals. For fittingly strong words to express astonishment: "Well, do, my Redeemer!"* Sample...
...they could afford to send boats Last week, the river was again filled with big shiny yachts; excursion craft, canoe; and launches got in each other's way, capsized, annoyed police boats. By the time the observation train started down the river in the early evening, a crowd ol 75,000 was watching from the banks, the boats, the balustrades and girders of two big bridges...
...Harvard players consider themselves particularly fortunate to have obtained the services of Director Joe Losey and Cmoposer virgil Thomson. Losey leaped inot prominence along Broadway last year by his excellent treatment of Albert bein's "Little Ol' Boy," while it is chiefly because of his musical setting for Gertrude Stein's "Four Saints in Three Acts" that Thomson, former director of the Harvard Glee Club, has won renown...