Word: script
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Dates: during 1940-1949
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Jean-Paul Sartre was brooding about the U.S. version of his new play Red Gloves. It had been corrupted, he grumbled from Paris, into a "vulgar, common melodrama with an anti-Communist bias," and he wanted to see and approve a copy of the script before the show officially opened. Nonsense, snorted Producer Jean Dalrymple from Boston, where the show was trying out. The Sartre play had only been shortened, and besides, it was being rewritten all the time. And what's more, she added, Boston had given it "wonderful, wonderful reviews," and it would open in Manhattan this...
There may be no theater in this country in another ten years. At present it is a very risky business gamble to produce any show, the cost of production demanding that successful plays possess either a well-known star or a script that doesn't deviate from one of the recognized "sure-fire" formulas. Theater art rarely can figure in the Broadway scheme. If production costs continue to mount, so will ticket prices, and there's no surer way to shut off the theater from the masses than through their pocketbooks...
...compact a play as "No Exit", neither is it as outlandishly unrealistic and clumsy as "The Respectful Prostitute." Except for the sudden flaming-up of the love between the leader and the wife which seemed as if it had only just been scribbled on the margin of the script, M. Sartre has written a play that American playwrights could be well to study...
...Jake doggedly formed a new company which bought the old firm's assets for $400,000, and began building their present smaller but much less vulnerable empire. Completely self-sufficient, it includes a script company (which owns more than 1,000 shows), a music publishing company, a scenery-and-costume company, and the Trebuhs (Shubert spelled backwards) Realty Co., which, with the Shubert Theater Corp., owns 16 of the 32 legitimate theaters in New York, owns or controls 21 outside...
...ankles and sing some nice tunes. Dan Dailey figures to de-emphasize Miss Grable's mediocre dancing with his own slick routines. The supporting cast of June Havoc, Jack Oakie, and James Gleason couldn't be any better. Gag specialists have written a few high-voltage boffs into the script and the whole thing is packaged in some real nice technicolor. These are the merits. In spots they give the picture color and vitality. Where it falls horribly flat is in the story and in the overburden placed on the capabilities of the principle actors...