Word: wiman
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Dates: during 1940-1949
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...Zehrung and "Rebel Bill" Wiman (Manfred E. to any Yankees under his "compance tenshun" were seen heading coastward with a million other people seeking a cool and secluded beach. They soon learned as have we all that here in New England a beach doesn't have to have send to be so named...
...Damask Cheek (by John van Druten & Lloyd Morris; Produced by Dwight Deere Wiman) gives Broadway its first polite comedy this season. It also gives menacing Actress Flora Robson (Ladies in Retirement, Anne of England) her first ingratiating role. She shows that she can handle comedy as well as emotion, sweetness as well as strength all in one evening...
...Druten's deft writing and direction have combined with the meticulous producing of Dwight Decre Wiman and the flawless acting of Flora Robson and the unusually good supporting cast to make a production that is an exercise in technical excellence. Miss Robson, displaying again her complete mastery of her art, is perfect as the English spinster; she is so good that even Jane Austen would probably approve of her. Margaret Dougless is outstanding as an overbearing matron, and Celeste Holm is very good as a breezy actress. Definite ornaments to the cast are a handsome and promising juvenile, Peter Fernandez...
Written for a production at Catholic University, "Count Me In" should have stayed there. On Broadway it falls flat and can hardly bear comparison with a Freedley, Wiman or Abbott musical. At any moment you expect someone to come out with a crack about the Dean of Women's red woolies, but you have to be satisfied with the humor of a Back Bay sitting room. Compensating for the poor dialogue is some top-notch dancing (Hal Leroy's tapping is the best thing in the show), an original story and a couple of good performances...
...Jupiter (music & lyrics by Richard Rodgers & Lorenz Hart; book by Rodgers and Hart; produced by Dwight Deere Wiman and Rodgers in association with Richard Kollmar) started the 1942-43 season but possibly ended an era: it may well be Broadway's last fine-feathers, six-figures musical until after the war. Its large-scale lavishness-a beautiful chorus, gorgeous costumes, stage-deep dance routines-is one of its two real assets. The other is Ray Bolger (George White's Scandals, On Your Toes), its long-faced, nimble-footed star...