Word: theater
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Dates: during 1930-1939
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When Pantomimist Arthur ("Harpo") Marx broke a 13-year public silence in San Francisco recently (TIME, Aug. 24), it could not have been over 15 months at the most. Because I heard him speak from the stage of the Paramount Theater in Portland in May, 1935. The Marx Bros, had an act, "A Night at the Opera." "Harpo" surprised us all by making a curtain speech...
...average theater-goer associates youth, music, love, beauty, gaiety, and laughter (never books) with college life, and consequently expects to see these elements in a college picture. The film producer, whose natural show manly preference lies more in the direction of snappy dialogue and dance routines than classroom dignity, knows this and is prepared to meet the demand. His pictures are intended for the film-going public as a whole, and not solely for a few hypercritical students. For this reason most college films, outside of the annual football epic (for which I offer no apologies) are musicals...
Producers feel, and perhaps rightfully, that they are giving the great mass of theater-goers what they expect. A painstakingly produced picture based on college life as it actually is might be a dismal failure. We college people might not even appreciate it. After all, twentieth century pioneering, especially in the cinema, comes a bit expensive, and the producer, if he wants to stay in business very long, must keep his eye on box office grosses, not on the embittered criticism of a few collegiate purists. He holds his job by the amount of black...
...necessary for her playwright only to give her reasonable opportunity to flutter about and be her charming self. "Biography" contented itself with filling this bill and consequently was a diverting and successful bit of lightness. In an attempt to recapture the mood (and the success) of this production the Theater Guild has enlisted the talents of playwright S. N. Behrman, stage-designer Lee Simonson and director Philip Moeller. The resultant concoction has been symbolically, if unseasonably titled "End of Summer" and is now going through a formative period of incubation at the Colonial prior to its New York flowering...
...theater manager liked Bing's style of Boo/doo/ta/dooing a song, and Bing met. A Rinker, a pianist, whose for tunes were locked with Bing's through enough slap bang, up-and-down footlight experience to kill two normal lads, including tours with Paul Whiteman as two of the Rhythm Boys who used to render a powerful Mississippi...