Word: stagings
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Dates: during 1920-1929
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...tourists who had been thumbing copies of Everyman closed their books, listened to the opening of the Deity's speech. When it was finished they turned to an outdoor stage and saw enacted the rest of the 16th century morality play. There were screams of mock-horror when the Devil popped from a trapdoor, careened fiendishly over the stage, diabolically swished a crimson tail. Then the audience commented on the beauty of the setting when, as the Cathedral in the background was streaked with soft shadows, Everyman prepared to climb into his grave, pathetically imploring...
...Ellis, would seem more than, a paraphrase of its own imitations. The Dance of Life is too long and overdetailed; it is handicapped with a tedious theme-song. Its virtues are faithfulness to its background, fairly legitimate sentiment, expert acting by the same people who played Burlesque on the stage except Nancy Carroll who, instead of Barbara Stanwyck, plays Bonnie...
...associates can steal pearls depends less on plot and more on dialog than most plays of its type. It is satirical, sentimental, witty. It set, in its season, a new fashion in drawing-room drama. It is as effective as a talking picture as it was on the legitimate stage. Although the manuscript has been followed so closely that if you look sharp you can catch in the picture the momentary pauses that marked the play's division into acts, it is not a photograph of a play. It is a reproduction in which dramatic values have been replaced...
Trixie Friganza, a survival of the age which the Almanac lampoons, floats laughably about the stage, an hilarious Zeppelin brightened with a Mazda smile. "How is my dear old mother tonight?" someone asks her. "Lousy," she replies. Fred Keating, a magician by trade, stuffs birds down his shirt front in a highly invisible manner while acting as master of the rakish ceremonies. Noel Coward, Peter Arno, John McGowan and most admirably Rube Goldberg are implicated in suitable capacities, as is the author of a song called, "I May be Wrong." Credit for the rest of the Almanac's sophisticated...
...Lady Macbeth in New Orleans. In New York she became a poetess and the wife of Heavyweight Champion John C. Heenan. Her acting in Mazeppa brought her fame. This was the sensational play wherein, as a Tartar boy, she wore the first boyish bob on the New York stage. The place was the Bowery Theatre, lately burned down. Part of her part every night was to let herself be strapped quasi-nude to the back of a black, spirited horse. When the horse ran away, the audience gasped; their excitement, insinuates Author Oursler, for some reason of his own, being...