WHAT was needed to remake the theater was not better managers, better actors, better playwrights, but—fore and aft— that same sixth sense, a “national consciousness” that would enable us to distinguish the better ones when we saw them. We needed to think “theater” in America, not solely as a place for entertain... continued here
A SPECIAL YEAR OF AMERICAN DRAMA: BY EDITH J. R. ISAACS (Chairman American Drama Committee, Drama League of America) IN China, any man who writes an unmoral play is threatened by the social religious code with a purgatory lasting as long as his play continues to be produced. This is exactly as it should be. It is a delightfully simple and obvious m... continued here
The originator of the Fadeaway Girl is not of the long-haired, flowing bow-tie variety of artists, but prides himself on his practicality and enjoys having his friends call him “sane and business-like,” which he is. He lives in New Rochelle, the New York suburb which now has another claim to fame than the fact that it is “Forty-Fi... continued here
A Pioneer in the fantastic and the grotesque, is what Henry McBride, the art critic, calls Renee Prahar, the sculptor. And a New York gallery is showing so much of her work as to support the attribution. “Nothing could seem stranger in description—to prove so beautiful when seen—than the ‘monkey room,’ one of thre... continued here