Word: theaters
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Dates: during 1940-1949
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...vaudeville. In three years he was completely repaid, and the new artistic form had begun its golden days. When vaudeville finally died, its inheritors, the slapstick movie comedians, took over the palace, and now it is known as a Laffmovie. The new life does not quite fit the magnificent theater; and the gilded boxes, the high dome, and the murals of cherubs and angels in the hall seem somehow superfluous and foreign now that the balcony is usually roped off, and popcorn is sold in the hall...
...Stadium, pervades the place and sets the tone of slightly frayed levity. Most of the stuff is eaten by children, who make up the fifty percent of the clientele to whom Buster Keaton is something new. The Laffmovie probably attracts a higher percentage of children than any other Boston theater, and since that means a higher percentage of truants, it presents certain problems. The manager must know when the school holidays fall, or he will be getting into trouble with the police; but on Saturday afternoons no holds are barred, and Harvard undergraduates rub elbows with students of Somerville High...
...reel the better." There have been deviations into more sophisticated comedy of the "Topper" type, "but," says the Boston advertising manager, "the kids didn't get the hang of the double entendre," And so, since the giants of the deadpan and the thrown pie are no more, the theater sticks to the oldies. "There are very few good new ones," the Laffmovie's spokesman says sorrowfully, and the Marx and Ritz Bros., Harold Lloyd, and Charlie Chaplin are therefore shown devotedly. While the children have no trouble understanding these artists, the adult part of the Laffmovie's family audience enjoys...
Rising to the occasion of its fortieth anniversary, the Harvard Dramatic Club took what it considers a big jump last night in choosing Irwin Shaw's "The Survivors" as its spring play. The experimental, controversial drama will be presented the week of April 20 in Cambridge's Brattle Theater...
Voices, too, seemed at a level below that of other New England Opera Theater productions. Only Norman Scott, in the lead role, did a first-rate job-others varying from not quite adequate to definitely annoying...