Word: though
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Dates: during 1930-1939
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...Town, Shadow and Substance, On Borrowed Time) as well as in some lesser fry. But all these plays, warmed by humor or pricked by wit, were far removed from the solemn fudge of the Servant in the House era, made neither God nor Death embarrassing. On Borrowed Time, though pleasant, was very likely the most overrated play of the season. But Our Town (the Pulitzer Prize play), despite a third act which got beyond its depth, squeezed so much honest feeling, poetry and humor into its first two acts as to be, if not technically the season's best...
...season produced no first-rate comedy, and, though its biggest guns were all on the serious side, no important play with social significance. (Of Mice and Men and Golden Boy had social material, but no major social theme.) But social significance ran away with the musical field, providing a tense, pounding strike drama in The Cradle Will Rock, a fresh, spirited revue in Pins and Needles. Best of the straight musicals: Hooray for What!, thanks to the clowning of Ed Wynn, the music of Harold Arlen...
...musical life along strictly Nazi lines. Dominant in the official Nazi attitude toward music were: 1) the Nazi theories of race, 2) Nazi objections to all satirical, "unwholesome" or experimental types of art. Public performance of works by Jewish composers like Mendelssohn and Gustav Mahler was banned. Likewise banned (though somewhat less systematically) were the discordant works of atonalists and other modernist composers...
While the Musikkammer's ban on music by Jewish composers has been rigidly enforced, racial borderline cases, Jew-"Aryan" collaborations, and other knotty problems have kept Nazi theoreticians in a perpetual dither. "Aryan" Composer Richard Strauss's operas have escaped the ban, though several of his most successful (Die Schweigsame Frau, Der Rosenkavalier, Elektra) have librettos by Jews. Also unbanned, and of Jewish authorship, are librettos of "Aryan" Composer Franz Lehar's operettas (The Merry Widow, et al.). Carmen, a perennial favorite in German opera houses, was written by French Composer Georges Bizet, who is generally credited...
...this penumbra of exceptions and compromises is jazz. Though officially condemned by Nazi authorities, it has never been absolutely banned. Negro jazz bands are not permitted; swing music has been publicly damned. But records by Josephine Baker, Guy Lombardo. Victor Young, Benny Goodman, Leo Reisman are still selling in Germany, as are the sheet-music compositions of George Gershwin and Irving Berlin. And British-born "sweet" Jazzband Leader Jack Hylton recently finished a two-month engagement at one of Berlin's variety show houses...