Word: one-act
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Wanger was making an ambitious movie called The Long Voyage Home, based on Eugene O'Neill's four one-act sea plays. The scheme: that Wanger import nine of Lewenthal's painters (he is head of Associated American Artists) to do scenes and characters from the movie, painted from life. The deal called for: 1) a free hand to the painters, 2) studios on the movie lot, 3) a total fee of $50,000-plus and expenses. In August the pictures will be shown at Manhattan's Associated American Artists' gallery (where Wanger and cast...
...monuments will be erected to the Broadway season of 1939-40. In solid achievement, it proved the weakest in years. It lacked also exciting experiment-had nothing to compare with the Sceneryless Stage, a one-act Julius Caesar, Pins and Needles, Hellzapoppin, The Swing Mikado. Few, even, of its many failures were honorable. It had only one distinction: its jokes were good. The Man Who Came to Dinner, Life with Father, The Male Animal, Morning's at Seven and two or three musical shows made it an excellent season for comedy...
...addition there will be courses in play production, utilizing the stage facilities of the Hasty Pudding Theatre; the course work includes preparation of an evening of one-act plays for presentation to the summer school...
...One evening in 1937 Philadelphia's Curtis Institute of Music presented to the public two one-act operas. What the critics came to hear was Le Pauvre Matelot, by one of the most famous of French modernist composers, Darius Milhaud. But what held them in their seats and sent them home happy was the light, tripping music and witty text of a little musical farce called Amelia Goes to the Ball, by an unknown graduate of the Institute, a youngster of 25 named Gian-Carlo Menotti. Next year Amelia made the Metropolitan, was so successful that it became...
...One Sunday night in January 1935 a one-act play about a taxi strike had its premiere in a shabby downtown Manhattan theatre. At its conclusion, a Left Wing audience put on the kind of demonstration that What Price Glory? had known, uptown, ten years before. The play was Waiting for Lefty, by Clifford Odets. Two months later. Lefty was running full blast in one Broadway theatre, Odets' Awake and Sing! in another, and critics were writing elaborate Sunday articles about the author. The Left theatre had become an exciting reality for people in no wise Left-minded...