Word: orchardes
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...Lewis opened at the RKO Boston yesterday with George Brunies and Muggsy Spanier in the band. What some men will do for money!--Latest advice from NYC tells of Dorchester's Max Kaminsky, just out of the Navy, opening a new Village bistro, "The Pied Piper," Cless. Orchard, and Danny Alvin in the band
...sucker. Far from it, he is just about the smartest picker in show business. Since last spring he has picked seven hits in a row; he owns from 7% to 20% of The Voice of the Turtle, Kiss and Tell, Othello, Lovers and Friends, A Connecticut Yankee, The Cherry Orchard and One Touch of Venus. He also owns 20% of Life With Father and 25% of Arsenic and Old Lace, Broadway's two oldest moneymakers. His nine current shows, with their road companies, are grossing over $300,000 a week at the rate of $15,000,000 a year...
...Cherry Orchard (translated from the Russian of Anton Chekhov by Irina Skariatina; produced by Carly Wharton and Margaret Webster) is usually considered Chekhov's masterpiece. To some people it may seem, with the passage of time, to have rather more aura than substance, to offer only a picture of impotent wills where Chekhov's The Three Sisters makes a drama of them. But certainly, with its gallery of weak, foolish, charming aristocrats, The Cherry Orchard has a fragrance and touching gaiety to be found in no other Chekhov play...
Little happens. Frivolous, warmhearted Madame Ranevsky (Eva LeGallienne) returns, after years abroad, to the old family estate where she lives with her daughter, stepdaughter and fibreless brother (Joseph Schildkraut). They will lose their home, she learns, unless she sells off their beautiful cherry orchard. This she cannot bear to do; to her, the symbolic part means more than the actual whole. So the estate is sold, Madame Ranevsky goes back to a worthless lover in Paris, and her incompetent brother gets a job in a bank...
Chekhov, who cherished the nuance, abhorred the emphatic. His Cherry Orchard is a mosaic of art rather than a straight transcript of life; its emotional overtones are out of all proportion to its literal story. Last week's production had its merits: a fluent translation, good pace, no mistaken striving after Russian "soulfulness." But the indispensable merit of tone it did not have. It failed to make little scenes radiant or heartbreaking; it played for laughs; it turned minor roles into blatant character parts. Chekhov-lovers had seen a more poignant Cherry Orchard years ago, when Eva LeGallienne staged...