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Louisiana Purchase (music & lyrics by Irving Berlin; produced by B. G. De Sylva) was the first show in at least three years to charge $8.80 on opening night. In return it offered a rich program:, Irving Berlin music, a Morrie Ryskind book, Balanchine ballets, such headliners as Vera Zorina, Victor Moore, Billy Gaxton, Irene Bordoni. Good they all were, but at $7.70 or even $6.60 their efforts would not have come under the head of sweated labor...

Author: /time Magazine | Title: The Theatre: New Musical in Manhattan: Jun. 10, 1940 | 6/10/1940 | See Source »

...represent most of its contributors at their peak. Some of Berlin's music, especially the title song and It's a Lovely Day Tomorrow, is thoroughly attractive, and some of his lyrics are amusing; but Louisiana Purchase does not show the dazzling Berlin of As Thousands Cheer. Ryskind's book is lively enough, but as political satire it is miles below Of Thee I Sing. Balanchine's ballets are skillful but not startling...

Author: /time Magazine | Title: The Theatre: New Musical in Manhattan: Jun. 10, 1940 | 6/10/1940 | See Source »

...fact that, in addition to serving as a full-time partner in each, George S. (for nothing) Kaufman has also set up in the play business with at least 22 other people, once conducting a thriving emporium with the late Ring Lardner, a going concern with Morrie Ryskind, four swanky shops with Edna Ferber, two small hamburger stands with Alexander Woollcott, a pushcart with Howard Dietz, and a sidewalk trade out of a suitcase with Herman J. Mankiewicz...

Author: /time Magazine | Title: The Theatre: Past Master | 11/20/1939 | See Source »

Joan Crawford (Sun. 7:30 p. m. CBS), Jack Benny, Judy Garland, Reginald Gardiner, Ralph Morgan, Mitchell Leisen, Morrie Ryskind contribute their services to the first program of Gulf Oil Corp.'s series of Screen Actors' Guild benefits...

Author: /time Magazine | Title: Radio: Programs Previewed: Jan. 9, 1939 | 1/9/1939 | See Source »

That the gay course of Merrily We Live is always breezy but never aimless is due partly to its Morrie Ryskind-Eric Hatch (My Man Godfrey) pattern, more particularly to the craft of Director Norman McLeod, whose technique of making every character seem important in neatly overlapped situations makes for speedy, clinker-built comedy. A minister's son, handsome, six-foot, 39-year-old Norman McLeod left Oxford to become a World War aviator, left Europe to become an assistant director on Christie comedies. In Hollywood he drew cartoons (as decorations for subtitles), became so proficient with his wiry...

Author: /time Magazine | Title: Cinema: The New Picture: Mar. 14, 1938 | 3/14/1938 | See Source »

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