Word: playing
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Dates: during 1920-1929
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This afternoon the University squash team A will play an important match with Newton Center, leaders in the State interclub squash series. The result of this match will not be decisive but will give an indication as to what may be expected later in the season. The competition will be stiff this year in view of the fact that no team in the leading division has won more than three-fifths of its matches. Most of the teams have two matches behind them and of the 26 players in class. A only ten remain unbeaten and of these but four...
Most heartbreaking it is to find at the Hollis, where the Theatre Guild is opening its Boston season, that Lynn Fontanne has nothing to do. The play is "Meteor", by S. N. Behrman, who wrote "The Second Man" and "Serena Blandish". And though Miss Fontanne is in it, on the stage, in fact, for a good part of it, she is a distinct second fiddle. This is all the more remarkable, because there are few enough actresses of her attainments who would take such a part, and none that would do it with such a fine sense of the artistic...
Perhaps the task of self-effacement is made easier by the fact that the lion's share of the play goes to her husband. Mr. Lunt is the "Meteor", the egoistic genius who, in his spurt of overwhelming success, ruins the lives of all about him. Never has he given a more powerful performance, never displayed so artistically, his uncanny instinct for attack and transition. A long speech in his hands never becomes boring. Each new thought that forms in the character's head is projected definitely by changes in his voice, in his body, and his face...
...play itself is not the gold mine "Caprice" was. Starting with an over-whelming idea--the saga of a man with a clairvoyant gift that enables him to reap riches in business. Mr. Behrman seemed to flounder, to be a little uncertain of his way. This was particularly evident in the second act. The details are revealing, little turns of character are brought out with subtlety and grace, but it is in the larger strokes, the rhythms and counter-rhythms, the transitions from one scene to another, that one feels an ineptitude that, but for Philip Moclier's unobtrusive direction...
...England. Of course, A. A. Milne is much too successful in juvenile writing to let slip an opportunity like the Barrie-Kipling dream scene in which the appearance of a Nite, a Squier, and a Buteus Maiden would do any child's heart good. The adult portions of the play are composed of slightly bored dialogue in Act I, a not too effective suggestion of strain in the first scene of Act III, and, in the final scene, a modicum of action that moves to the weak-kneed close...