Word: sean
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Dates: during 1950-1959
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...swollen lie; criticism, a cold compress." While he derided "soapbox philosophers" and "commercial uplifters," Critic Nathan preached, cajoled and bullied to carve out a niche for Eugene O'Neill, the first U.S. dramatist to achieve worldwide renown. He worked as hard to popularize such famed European playwrights as Sean O'Casey, Ferenc Molnar, and Luigi Pirandello. Says the New York Times's Drama Critic Brooks Atkinson: "Nathan had as profound an influence on the American theater as George Bernard Shaw on English theater...
...Atkinson, an inveterate party-dodger, who was lured to the restaurant by his author-wife, Oriana. The "sentimental works," as Variety called it, included a citation from Actors Equity, encomiums from such absent admirers as William Saroyan and Clifford Odets, and a letter in which choleric Irish Playwright Sean O'Casey grew moist-eyed over Critic Atkinson's "splendid defense" of the theater "throughout the times of many great events, alarums, sennets and disputes...
Juno and the Paycock (Angel, 2 LPs). With a foreword by Playwright Sean O'Casey, one of the century's great tragicomedies boils up again from the Dublin slums. Siobhan McKenna, as Juno, has in her voice all the ache and sorrow of Cathleen Ni Houlihan; Seamus Kavanagh makes his Captain a lovable buffoon for most of three acts and - at the right moment - turns him into a villain; Cyril Cusack whines and wheedles his way magnificently into the role of Joxer Daly...
...Vanishing Hero is a promising-looking book. Subtitled "Studies in the Novelists of the Twenties," it is a series of short, incisive chapters on eight English and American writers who generally make fine grist for critical mills. Sean O'Faolain, the author, is a man who has demonstrated a conspicuous and sensitive intelligence in a wide variety of fields...
...here and there on the stage the story loses a certain inward glow, it gains in outward color from snatches of song or the interplay of street voices. With the performers-particularly George Brenlin as Sean and Aline MacMahon as the mother-providing a resonant voice box, I Knock at the Door wisely puts adroit storytelling ahead of theatrical effect. If four walls and a passion can make a good play, almost as much can be had from six chairs and a prose style; and an ounce of Cavendish cut-plug can be worth a pound of routine theatrics...