George S. Kaufman (1889–1961)
Autore di You Can't Take It With You
Sull'Autore
Kaufman, was born in Pittsburgh, attended law school for two years, failed as a business person, and became a humorist for Franklin P. Adams's column before joining the New York Times, whose drama editor he became in the 1920s. Kaufman was sole author of one long play and two one-act plays, mostra altro including the popular The Butter and Egg Man (1926), but he collaborated on more than 25 plays, most importantly with Moss Hart, but also with Marc Connelly, Edna Ferber, and others, including Ring Lardner and John P. Marquand. These plays range from the hilarious madness of Cocoanuts (1929) and Animal Crackers (1928), two Marx Brothers shows that Kaufman worked on, to the comic pathos of Stage Door (1936) (with Edna Ferber). Commenting on why he did not write true satire, Kaufman said, "Satire is what closes Saturday night." Kaufman, Morris Ryskind, and Ira Gershwin won the Pulitzer Prize for drama for Of Thee I Sing (1932) and Kaufman and Hart for You Can't Take It with You (1937). (Bowker Author Biography) mostra meno
Fonte dell'immagine: Courtesy of the NYPL Digital Gallery (image use requires permission from the New York Public Library)
Opere di George S. Kaufman
Three Plays by Kaufman and Hart: Once in a Lifetime, You Can't Take It with You and The Man Who Came to Dinner (1980) 94 copie
The Late George Apley: A Play 4 copie
Six Plays By Kaufman & Hart 3 copie
Of Thee I Sing 1 copia
I'd Rather Be Right 1 copia
Once In A Lifetime 1 copia
Merrily We Roll Along 1 copia
George Washington Slept Here 1 copia
Local Boy Makes Good 1 copia
Gone With The Revolution 1 copia
On The American Plan 1 copia
The Pride Of The Claghornes 1 copia
The Great Warburton Mystery 1 copia
For Good Old Nectar 1 copia
A Christmas Carol in Three Acts 1 copia
Opere correlate
Fierce Pajamas: An Anthology of Humor Writing from The New Yorker (2001) — Collaboratore — 714 copie
The Vicious Circle: Mystery and Crime Stories by Members of the Algonquin Round Table (2007) — Collaboratore — 87 copie
Three Plays About Business in America: The Adding Machine, Beggar on Horseback, All My Sons (1964) — Collaboratore — 36 copie
Twenty Five Best Plays of the Modern American Theatre: Early Series (1949) — Collaboratore — 25 copie
Merrily We Roll Along: Original 1981 Broadway Cast Recording — Original play — 8 copie
Longer Plays By Modern Authors. Beau Brummell; Copperhea; Dulcy; Intimate Strangers; (1922) — Collaboratore — 3 copie
Etichette
Informazioni generali
- Nome legale
- Kaufman, George Simon
- Data di nascita
- 1889-11-16
- Data di morte
- 1961-06-02
- Sesso
- male
- Nazionalità
- USA
- Luogo di nascita
- Pittsburgh, Pennsylvania, USA
- Luogo di morte
- New York, New York, USA
- Luogo di residenza
- New York, New York, USA
- Attività lavorative
- playwright
journalist
theatre critic
humorist - Relazioni
- Kaufman, Beatrice (wife)
- Organizzazioni
- American Academy of Arts and Letters (Literature, 1938)
Algonquin Round Table
The New York Times
Utenti
Recensioni
Liste
Premi e riconoscimenti
Potrebbero anche piacerti
Autori correlati
Statistiche
- Opere
- 61
- Opere correlate
- 27
- Utenti
- 1,879
- Popolarità
- #13,699
- Voto
- 3.7
- Recensioni
- 32
- ISBN
- 53
- Lingue
- 1
- Preferito da
- 4
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I got this collection of 1930s plays five years ago, in the early stages of my Oscar-watching project, because the middle one of the three was the basis of a very successful film starring Lionel Barrymore. In fact all three of these plays were successfully adapted for the screen.
The scripts are prefaced by a short piece from each of the two authors, gently poking fun at each other and giving a sense of the relationship between two Broadway creators. They certainly seem to have got on with each other better than Gilbert and Sullivan.
The first play, Once in a Lifetime, is about a vaudeville trio, down on their luck because of the invention of talking movies which sucks the audience out of theatre, who go to Hollywood and try to make it big there. The dumb guy of the three ascends to huge cinematic power, and the punchline of the play is that the bad decisions he makes turn out to be very successful.
I thought it was really funny. I don’t always find it easy to read scripts, but here I had no difficulty differentiating the characters with their different voices. I noted that George Kaufman, one of the authors, also played the frustrated playwright Laurence Vail in the first Broadway cast.
The key character is Mary Daniels, the woman in the vaudeville trio, who gets the best lines and serves as the audience viewpoint character on what is happening in Hollywood. In the original Broadway production she was played by Jean Dixon.
The drunk actress Gay Wellington (and another comic turn, the Grand Duchess Olga) were among the cuts made by Riskin as he adapted You Can't Take It With You for the screen. Kirby’s background is much less developed in the play – the whole subplot involving property transactions, and the character of Mr Poppins, are inserted by Riskin into the film. The Vanderhofs have pet snakes rather than a raven. (Though I’m glad to say that the kitten is original.)
The guts of it are all the same, and one can see why the play won a Pulitzer as an uplifting tonic in depressing times. It’s a bit more misogynistic (as I said, two extra female characters who are only there as figures of fun, and Mrs Kirby gets a harder time) and more racist (Donald gets treated worse). There is a hilarious sequence during the Kirbys’ disastrous visit to the Vanderhof household, where Penny gets the Kirbys to play a word association game.
The third play, The Man Who Came to Dinner, is even more overtly a character study than the other two. A famous New York theatre critic slips on an icy patch while visiting Ohio and is immobilised in the home of his reluctant hosts for several weeks. There’s a bit of a comedy of middle-class manners here, but mainly it’s about the monstrous protagonist who is unaware of his own monstrosity.
I Imagine that this is simple to stage, in that the entire play takes place in the Ohio front room. It’s more of a one-joke story than the other two. The play was written for actor and critic Alexander Woolcott, who had behaved with abominable rudeness while visiting Hart’s family home; for some strange reason he bowed out of actually performing as the character based on himself, and it fell to Monty Woolley to do it on both stage and screen, giving his career an immense boost. The film stars him and Bette Davis.… (altro)