By Jean Giraudoux
De 1928, date des premières représentations de Siegfried, à sa mort, en janvier 1944, Jean Giraudoux a écrit une quinzaine de pièces de théâtre qui font de lui, avec Claudel, l'auteur français le plus very important de los angeles première moitié du XXe siècle.
S'il a continué à être joué et lu depuis los angeles guerre, c'est qu'il a été le dernier écrivain à croire que le théâtre faisait partie intégrante de l. a. littérature. Loin de tout réalisme, ce théâtre prolonge jusqu'à nous les prestiges du classicisme français, dont Giraudoux a retrouvé le sort en le teintant d'ironie savante. l. a. tradition, chez lui, ne peut faire oublier son modernisme ni son appartenance à une époque qu'il a voulu placer entre les parenthèses de deux guerres.
Grand créateur de personnages, vus souvent à travers les acteurs prestigieux de los angeles troupe de Jouvet qui les ont interprétés en ultimate, Giraudoux se signale à nous non seulement pas los angeles perfection de l'écriture, mais par une sensibilité qui lui fait retrouver, si abstrait et si raffiné soit-il, los angeles réalité des passions. Son humour léger ne l'écarte pas non plus d'une morale du bonheur, où l'éternel féminin joue un rôle de most appropriate plan.
Qu'il utilise les grands thèmes classiques ou qu'il invente des events et des personnages inédits, le théâtre de Giraudoux, plus grave qu'il ne paraît, veut nous réconcilier avec l. a. vie. man Dumur
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The first half of each show—the customary vaudeville routines— would be followed by a shortened, or "tab," version of a recent Broadway revue. One of the shows they selected was the Lew Fields starrer, and Fields invited Rodgers to be the replacement musical director when the show had been on tour for two months. Rodgers made his debut as a professional conductor at the Shuberts' Detroit Opera House on December 4, 1921, and stayed with the show until it closed on the road the following spring. Oddly enough, neither the formidable Fact Book that lists his achievements nor his autobiography mentions the song that brought all this about.
While the critics and the public loved it, things were less than happy backstage. The old feud was still smoldering, and Fields, in particular, had found lucrative avenues for his talents elsewhere. The eight-week run was the only time they played at the theatre named for them; after a decent interval, the Shuberts renamed it the 44th Street Theatre (the site is now occupied by the New York Times). For generations who never saw Weber and Fields at work, the nearest approximation of it can be seen in a play perhaps suggested by their lives—Neil Simon's The Sunshine Boys.
45. The long-run champion was Lightnin', featuring Frank Bacon, at the Gaiety. Vaudeville was flourishing at the Palace, burlesque at the Columbia, silent movies at the Rivoli and the Strand. Other early theatrical offerings were The Five Million, a post-war comedy; Hoibrook Blinn in Eugene Walter's The Challenge; and a new play by Thomas Dixon, author of The Clansman, called Red Dawn. On August i, just as the Broadway season was about to begin, impresario Oscar Hammerstein died. In October, George Gershwin and Irving Caesar got together on a little number called "Swanee" that took about ten minutes to write and would make both of them rich young men.