Word: theaters
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Dates: during 1940-1949
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...comedy a play which has the peculiar double aspect of a period piece and also of a classic achievement in language and satire. The revival of two Wilde plays in the United States this season may betoken better treatment for this greatest of wits: if so, the American theater will be adding immeasurably to its richness...
...sure, of course, that nothing is allowed to interfere with the job at hand. The man chosen for the part must literally throw himself into the vast sea that was the soul of the Savieur de France. I remember well the case of Reginald Arbutney, who gave the Longneck Theater its greatest evening in the first male "Joan." Unfortunately, Reginald was never allowed to follow his star for he inadvertently tied a corset string to one spur and thereby broke his neck mounting his white charger in the last act. May the Harvard Joan have more care. J. Thisby McManus...
...title came out of an old burlesque theater drunk skit. Jack McVea, leader of a small West Coast Negro jazz band, had heard the skit years ago-and the phrase stuck. Last summer on a rainy day in Portland, Ore. he wrote a simple riff tune for it and later recorded it-leaving out the references to whiskey. Disc jockeys in Los Angeles started plugging it last month, and soon McVea's record had sold 300,000 copies, mostly on the West Coast. As soon as it caught on, McVea heard from the lawyers of John Mason...
...such jolly bits & pieces, Ed has built his huge theater. Now all he really needs are some good shows. Aside from alert news and sports coverage, big, sprawling Mutual has only six or seven programs worth the time of day or night. Ed knows his weakness: "Programs will be our No. 1 objective this year." He means "programs with that commercial aroma." Ed once directed Conductor George Szell of the Cleveland Symphony Orchestra not to play over Mutual "for art's sake-play simple, melodic things for the millions...
...Sons is social criticism, but in moral terms; it clearly insists on individual responsibility. It also attacks the mind wholly by way of the emotions. And with its unblushing penchant for theater-tense atmosphere, patly timed revelations and whopping climaxes-it is a compelling rather than an entirely convincing play. The production adds to the impact: Ed Begley as Keller, Beth Merrill as Keller's wife, and above all Arthur Kennedy as Keller's son, play with consistent force...