Word: stage
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Dates: during 1940-1949
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...family of Cadiz, Ohio, he went to Franklin College (Ohio), spent twelve years on the first Tribune, 15 on the second, grew to be a massive, silver-haired Buddha of first nights. For more than a quarter-century, he waged an acid campaign for maturity and subtlety on the stage-and in the audience. He developed a prose style as ornate as a Victorian bandstand, used it for the elaborate puncturing of the phony or the inane...
Cinemafans who had hoped for a peep at the off-stage life of Crooner Powell and wife, who have been married five years, possess two children, will have to wait. Their performance indicates that they are thoroughly accustomed to each other. Mother and Father Powell have 124 scenes together. In all but 15 they bicker...
...Metro-Goldwyn-Mayer) is Pancho Lopez (Wallace Beery), a rootin'-tootin' Mexican bandit, a dead ringer for Pancho Villa, whom Actor Beery portrayed with the same mops and mows back in 1934. Nothing like Holbrook Blinn's stage Pancho of 21 years ago, whose function was to satirize the average American, is the Beery portrait. The Arizona ranch which Pancho raids is owned by a gruff old character in a wheel chair (Lionel Barrymore). Both dialogue and action are thus resolved into a prolonged contest between the stallion snorts of Actor Beery and the crosspatch snuffles...
Among the scripts are: "The Barretts of Wimpole Street," "Boys' Town," "Camille," "The Citadel," "David Copperfield," "Fury," "Good-bye Mr. Chips," "The Great Zeigfeld," "Naughty Marietta," "Pride and Prejudice," "Pygmalion," "The Informer," "Roberta," "Stage Door," "Winterset," "Dead End," "Wuthering Heights," "The Prisoner of Zenda," "A Star is Born." "Midsummer Night's Dream," "The Story of Louis Pasteur," "The Gay Divorcee," and "Waterloo Bridge...
Money problems have not justified the University's differential treatment of Stage and Radio. Harkness had the money for a theatre. Nor does the argument hold that Harvard teaches only theory--for Baker, if this were true, never would have been allowed his "47 Workshop." It was childish to limit drama to the teaching of theory; it was extravagant to refuse the donation of an auditorium and lose the best dramatist of the day. But for the University to continue its stepfatherly treatment, and charge the Harvard Dramatic Club an average of two hundred dollars a production for ill-equipped...