Word: shubertism
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...Oyly Carte production of "The Pirates" now at the Shubert, rather than getting by on clowning, plays up the unique qualities of the operetta, allowing the music to be heard, and even exaggerating the satire of a band of pirates who prefer their trade to "the cheating world . . . where pirates all are well-to-do." After last week, Martyn Green is almost unrecognizable as the Major General. Instead of giving way to capering about the stage, he remains a rather pathetic figure, in or near the clutches of the equally pathetic pirates. The same may be said for Darrell Fancourt...
...Oyly Carte, now at the shubert, is performing "The Mikado" with all the polish and humor that the operetta needs. Martyn Green, who is one of the funniest men around in any company, climbs up the scenery and mugs furiously, but he hardly ever steps outside his role in the play, that of the Lord High Executioner. Darrell Fancourt, as the humane Mikado of the story, leers competently at his unfortunate subjects and utters the most grotesque chuckles that have been heard in Boston since he was last here nine years ago. The romantic leads are taken by Thomas Round...
...firecracker-string of Broadway successes. She had helped boost many of her onetime players (notably Celeste Holm, Joan McCracken, Bambi Linn, Mary Hatcher, Howard Da Silva, Pamela Britton, Alfred Drake) toward Broadway or Hollywood fame. And to her happy angels (among them: Producers Max Gordon and Lee Shubert, Playwright S. N. Behrman) she had paid...
Power Without Glory (by Michael Clayton Hutton; produced by John C. Wilson & the Messrs. Shubert) is a far better thriller after two acts than after three. Though it comes to a thoroughly bad end, it adds up to a fairly good evening. British Playwright Hutton, who has hit on a rather fresh and valid idea for a thriller, may be a bungler of plots, but he is a master of tension. Best of all, a well-knit British cast keeps on acting deftly even after there's little left...
...although the middle-class experiment fails through author's in ability to combine his overeager social consciousness with a saving fluency of dialogue, the director's fine sense of timing and contrast save the piece as a whole. Indeed, the neatly-balanced combination of Coward and Coward make the Shubert bill worth not one, but two evenings of almost anyone's time. C.W.B...