Word: weill
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...Hung in the Wildenstein Galleries was the best private collection of iSth-Century French art in the world. The lifelong accumulation of San Francisco-born David David-Weill, president of the Council of the National Museums of France, senior partner of the international banking house of Lazard Freres & Cie , this anthology of fragilities changed hands last March. The reported price of $5,000,000 paid by happy Dealer Georges Wildenstein established him firmly as the French Duveen...
...Eternal Road (words & music by Franz Werfel & Kurt Weill; Meyer W. Weisgal, Crosby Gaige, and Max Reinhardt, producers) is perhaps the first indoor theatrical event ever to justify the cinematic adjectives Stupendous and Colossal. Everything about this unprecedented superspectacle is large scale. It was more than three years in the making. Its premiere, postponed ten times, finally took place one year and 15 days late. The heart-breaking difficulties which beset its promoters were scarcely less impressive than those of the Jewish people whose historic sorrows the pageant so magnificently pictures...
...Miracle ten years behind him, his huge outdoor A Midsummer Night's Dream one year in the future, agreed to take on the job. He called in Novelist Werfel, who was completing his best-selling Forty Days of Musa Dagh, to do the book. He called in Composer Weill, who had finished his music for Dreigroschenoper but had not yet dreamed of Johnny Johnson, to score the spectacle. Designer Norman Bel Geddes, long finished with Lysistrata but not yet started on Dead End, was hired to set the spectacle. Of all the episodes in The Eternal Road...
Johnny Johnson should also appeal to playgoers interested in seeing some of the theatre's traditional dimensions torn out and enlarged. Playwright Green, who supplied the Group with its first play, The House of Connelly, and fugitive German composer Weill, who set The Beggars' Opera to new music with notable success three years ago, have fashioned a show which does not hesitate to exploit any form of theatrical procedure necessary to attain its end. The production begins conventionally enough in April 1917 with Johnny Johnson (Russell Collins), a tombstone carver with an odd way of thinking things...
...humor and dignity in a part which might easily have been confusingly eccentric; to Donald Oenslager for a series of arresting and imaginative sets; to Poet-Playwright Green for a profound and witty evangelical address to a world he at one point concedes to be "bass ackwards"; to Composer Weill for the weird, haunting little ballads and Europeanized fox trots which immensely help to articulate the play...