Word: supermans
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...Juan in Hell (by George Bernard Shaw; produced by Paul Gregory) is the scene from Shaw's Man and Superman that is regularly omitted on the stage. There are good reasons for omitting it: it is over two hours long, and it is merely tossed into the play. But there are far better reasons for performing it, at least by itself: it is not only the finest thing in Man and Superman, but the most brilliant talkfest, the most glittering dialectical floor show of modern times. And underneath all its riot of paradoxes it contains Playwright Shaw...
...them, but through fear of being possessed. Shaw's Juan is nine parts Puritan to one part libertine, and for him Heaven means hard work, not golden harps. There the Life Force, that instrument of man's purposeful striving, will carry him higher & higher, convert him into superman. Shaw's Heaven, far from being a blissful goal, would seem a mere way station on the road to perfection-as his Life Force, magnificent so long as it is an evolutionary process, would seem to end as pure intelligence functioning in an utter void...
...sweats through 19 costume changes. Aided by his dresser and three assistants, who stand just inside the curtain and peel costumes from him in onion-like layers, he gives a dizzying exhibition of that half-forgotten art, the quick change. He leaves the footlights as Captain Universe, a panicky Superman who wears an aerial on his head, slips out through the curtain again as a clown, dives back to reappear almost instantly as a cross-eyed gaucho, and then-encased in a gown which is snapped around him by a body-hugging steel spring-dodders into view as Queen Victoria...
Kind Lady (MGM) presents Broadway's Maurice (Hamlet, Man and Superman) Evans in a new cinemadaptation of an old Broadway melodrama. Always at home in a revival, Actor Evans gives a performance as technically polished as the movie's production, and Co-Star Ethel Barrymore keeps right up with him. But the thriller's chills are slow in coming, only moderately chilling when they arrive...
...Love's Labour's Lost" does not read as well as it plays, and thus the production itself is especially lauditory. Director Albert Marre has given it a Shavian setting; the characters dress in 19th century costume and move in a "Man and Superman" milieu without the least offense to context. "Love's Labour's Lost" would be young in any century, if it received the kind 'of delicate treatment which the Brattle Company has administered. Grace and delicacy are just what the Brattle group has given...