Word: playwrighting
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Dates: during 1930-1939
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...which break through commonplace talk. In some of Hemingway's stories, notably Fifty Grand and The Killers, so much of the narrative is implicit in the dialogue that they read almost like acting versions. For these reasons many a reader has wondered how Hemingway would be as a playwright...
Vivid, Big Blow is also crude. Its startling picture is half-spoiled by a stale plot. Its genuine drama of the hurricane is tarnished by the regulation melodrama of the hack. For its effectiveness. Big Blow can thank its subject, not its playwright...
...more than a burlesque of Gone With the Wind, achieves her own mannerisms, drawls her own lingo,* spits her own fire. Actress Claire plays her admirably. A terror for house parties in real life, Cindy Lou is the makings of one on the stage. By comparison with Cindy Lou, Playwright Boothe's wisecracking cutthroats are dramatically flat. While they smack balls at one another's heads, Cindy Lou, her toe dug into the baseline, drops unplayable shots at her opponents' feet...
...Playwright Ginty's triumph of make-believe is that she has created, out of one part pious bluenose and one part murderous bandit, a lively, attractive, fun-loving Tom Rover. Nobody even bothers to wonder whether Thomas Howard might not be a sniveling hypocrite: at worst, he would seem to justify his forays as Falstaff justified his thefts: " 'Tis my vocation, Hal. 'tis no sin for a man to labor in his vocation.'' For almost three acts Jesse James labors with gusto. But History and the Wages of Sin have to win out, and Jesse...
...both sides are buttered. On the one side, there is the romantic bad man and all the melodramatic hokum ever devised, including the widder woman preyed upon by the wily banker. And if this side does not please sophisticated Broadway as it once pleased a gaslit Bowery, there is Playwright Ginty's nimble kidding and drawling backwoods humor to save...