Word: sklar
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...marbles champion, like the two previous champs, was a boy from Pittsburgh. He was wan, twelve-year-old Benjamin Sklar, son of Russian-born parents. Ben had borrowed the well-worn agate shooter of the Pittsburgh kid who won the crown two years ago. He had also prepared for Wildwood's fast rings by doing most of his marble-shooting on an asphalt tennis court near his home on Winterburn Avenue. His secret: "Just roll it into the ring and put a little spin on it, that...
Laura (by Vera Caspary & George Sklar; produced by H. Clay Blaney in association with S. P. & Roy P. Steckler), like Rebecca, flouted tradition by backing into Broadway from Hollywood. Like Rebecca's, its Broadway sojourn is apt to be brief. The main trouble is that people may not care to see on the stage what they've already seen on the screen, done much better and at a quarter the price...
Life and Death of an American (by George Sklar; produced by the Federal Theatre Project) tells the story of Jerry Dorgan, supposedly the first U. S. baby born in 1900. The play spans the same period and dramatizes many of the same events as The American Way; but Jerry is a worker's son and his story is no paean to the democratic formula. An indignant protest against a system which creates and cannot, cope with poverty and unemployment, it ends bitterly with Jerry killed during a strike...
...play "Stevedore," running highly worth seeing, and too few see it. With their limited resources the New Theatre Players do an excellent job. The casting is perfect. The play suffers, like most avowedly propagandist plays, from too much earnestness on the part of the playwrights (Paul Peters and George Sklar). It lacks any touch of relief from exciting, sometimes harrowing situations. The structural fault in its conception is obviously this tie scene after another. The acting of both the negroes and whites is good enough to being off the needed effects through the first two acts, but the third...
Parade (words & music by Paul Peters, George Sklar & Jerome Moross; Theatre Guild, producer) is an experiment which demonstrates some of the possibilities and all of the shortcomings of presenting songs and dances on a soapbox. Originally this "satirical revue" was scheduled for the rampant Red Theatre Union, which last year put on Messrs. Peters' & Sklar's Communist melodrama Stevedore (TIME, April 20, 1934). In that locale, Parade's sour skits and migraine melodies might have had some relevancy. At the Theatre Guild, which has a tradition for art rather than garment-loft politics, Parade gives its spectators...