We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
for May 19 3 1
65
Stage in Review
By Benjamin De Casseres
that hurts it is the singing of the cowboys and the milkmaids between the scenes. This ancient device almost killed the play.
Helen Westley leads in laughs as Laurey's fostermother ; about the best thing of Miss Westley 's career. Franchot Tone was a regular Hoot Gibson cowboy, and Richard Hale a basso-profundo villain. The rest were all tip-top.
A rattling show ; and the Guild has got its second wind. "Anatol"
Bela Blau's production of "Anatol," Schnitzler's almost satanic thrust at sex, is one of the most intoxicating, delightful, hallucinating and brain-tickling events, from any standpoint, that I can record that has happened in our theatre for many an income tax.
Six scenes, six love affairs of this It-lassoing 'Anatol," six women who handed it to Anatol on the chin, six masterpieces of the eternal comedy of sex-meouwing — all in about ninety minutes.
No one but a Continental could put the sword in the gizzards of we men and women so daintily and airily as is done in these little masterpieces. And while it is all going on, a distant orchestra lulls us into hypodermic heaven with those old Vienna waltzes. I tell you, it's great magic !
And the acting ! Dennie Moore, Anne Forest, Elena Miramova, Patricia Collinge, Miriam Hopkins
Below, Richard Hale and Franchot Tone in "Green Grow the Lilacs," the Theatre Guild's latest offering, by Lynn Riggs.
Joseph Schildkraut left the screen to star in "The Affairs of Anatol" on the stage. Above, a scene from the Schnitzler classic.
"As You Desire Me" is a fascina tingplay by Pirandello, with Judith Anderson giving a superb performance.
and Ruthelma Stevens were the six women, each one a different kind of a frail, with high honors, from me at least, going to — well, the whole bunch, with Ruthelma Stevens and Miriam Hopkins getting two medals apiece. Joseph Schildkraut was a good but rather a tied-up Anatol, the ItBoob, and Walter Connolly played Max rather heavily.
The settings by Jo Mielziner were the finest of their kind ever seen on Broadway.
"Camille"
Maggie Gautier, the Paris frail of the speckled Second Empire, the lady who sported nothing but camellias, and who. in the middle of her rowdy life, fell hard for the kid Armand who had moonlight in his eyes
(Continued on page 111)