Word: one
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Dates: during 1930-1939
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...Krafft-Ebing, pranced a bleached Venus (Nini Theilade), a hoop-pantalooned Lola Montez (Ludwig's grandfather's mistress) with a belt of false teeth, Mr. and Mrs. Sacher Masoch in riding breeches, and enough assorted subconscious erotica to strain the limbo of an experienced psychopath. Meanwhile, at one side of the stage, a moribund, vine-sprouting faun in red tights concentrated on knitting a sock with three-foot knitting needles...
...milk diet!" he exploded. "Do you know what that is like? The hunger, it does not leave me. Whatever I do, wherever I go, it is like something I cannot take off. To me the cooking and eating are arts as great as music-maybe greater. One more week I shall go on. Then I will live again...
...only once in the history of the English-speaking theatre has one man been a partner in two firms that have both become household names. In the 1920s, the best-known playwrighting partnership in the U. S. was that of Kaufman & Connelly. In the 1930s it has been that of Kaufman & Hart...
This week, while celebrating his 50th birthday, the greatest collaborator of his time can look back on a career in the theatre that would be spectacular in a man of 100. Kaufman's current collaboration with Moss Hart, The Man Who Came to Dinner (TIME, Oct. 30), is one of the biggest smash hits of the last ten years. Kaufman's unequaled record: at least one show on Broadway every year since 1921. Fifteen of those shows Burns Mantle has included in various annual volumes of the Best Plays. One of them (You Can't Take...
Such a career argues more than a brilliant writer of comedy. It proclaims a past master of show business, who has learned every trick of the trade and invented many a new one. It proclaims an amazing foresight in always taking the pulse of Broadway as the clue to its heart, a habit of always writing fashionable plays and never revolutionary ones. It proclaims a playwright who has made sport of everything while never giving offense to anybody. It proclaims a really great practical theatre mind, with no philosophy except that the theatre is entertainment, and that good entertainment pays...