Word: playwrighting
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Dates: during 1940-1949
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Moss Hart, veteran playwright and director, has apparently been collecting gripes for several years. The theatre is richer for this warehouse. For at the Plymouth Theatre he releases these repressed emotions like so many small birds in an entertaining and often hilarious new comedy, "Light...
This latest Hart gem centers about two antagonistic groups: a playwright on the one hand, and a crew of theatrical angels, directors, and actresses on the other. And it would appear that Mr. Hart has felt for too long that 1) playwrights fear to say what they believe with daring and originality, and that 2) theatrical folk are tough and reasonably unscrupulous cutthroats. All this Mr. Hart has now said...
...story is concerned with a bright young man who has switched from trucks to typewriters and has written something new in the way of drama. This young man finds that the people who once seemed to be his devotees desert him when his play appears headed for failure. The playwright then loses his faith in his play as well as in his associates; but eventually he becomes as tough as the rest of them, and goes on with the job. The plot is slow in starting, and in some of the later serious moments it appears...
...success and long run (since May 1947) which it has had in London. It is that juicy mixture of about one part truth to two parts tripe known as good theater-that plumb sort of playwriting which is really just scene-writing. It gives two excellent English actors (Co-Playwright Morley and Peggy Ashcroft)* excellent opportunities...
...Norman Krasna & Groucho Marx; produced by Russell Lewis & Howard Young) was a tin-and-cardboard comedy which was meant to be box office but turned out to be a bore. Closing after eight performances, it showed little of what its collaborators are best known for: Groucho Marx, as playwright, lacked the divine madness he displays as a performer; while the smooth Krasnagraph that reeled off Dear Ruth and John Loves Mary badly needed oiling...