Word: witnessed
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Dates: during 1920-1929
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...possibly it was the players who underscored too heavily, and possibly the stickler who exaggerated, so finely did the action cut to the truth. In the second act, and indeed throughout the play, the purist would cavil at the lapses into broad relief; too often cleverness passed for wit, and gross business for eyebrow innuendo. For the over-dramatic, Mr. Rathbone, in the tutor's role, was the only possible offender. It was naturally as difficult for him to disclose his smouldering fires to the audience as it was for him to do so to his idol. In his scenes...
Some one-some wit-better endowed with sharpness than with taste, composed a little rhyme...
...wins the last-act race. This framework displays no sensational originality. It is shrewdly made to carry the star's efforts, always feeding them and taking little for itself. The company is large and generally competent. Yet, it is upon the magnificent vitality, the bright and sometimes bawdy wit, the shift to a swift flash of pathos, the surpassing magnetism of Mr. Jolson that the show depends...
...often been said that Mr. Anderson has no sense of humor. This is only partially true. Wit is present in his autobiography, though seldom in his novels. Many Marriages (TIME, Mar. 10, 1923) with its fun unintended, becomes understandable in tIe light of the autobiography. One can almost forgive him for that odd book after reading this fine...
...Theatre Guild grew out of such a movement, to wit, the Washington Square Players, who led a desultory corporate existence and disbanded at the War's outbreak. Some of the Players came together in 1919, started afresh as the Guild, began producing in the Garrick Theatre. Theatreland cocked its eye at John Ferguson by St. John Ervine, the Guild's second offering; kept the eye cocked when Masefield's The Faithful and Ervine's Jane Clegg appeared the next year; declared that the "art theatre" had achieved new and notable dimensions in the U. S. when...