Heath anthology of american literature 7th edition pdf

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Torrentz will always love you. This is a heath anthology of american literature 7th edition pdf article.

Click here for more information. Flyer with a black and white image of Doris Nolan in front of a large daily calendar. The calendar shows “The Night of January 16” with “January 16” in red. At the bottom of the flyer is the text “greatest dramatic novelty in years” in all caps. The court hears the case of Karen Andre, a former secretary and lover of businessman Bjorn Faulkner, of whose murder she is accused. The play’s ending depends on the verdict.

It drew attention for its innovative audience-member jury and became a hit, running for seven months. Broadway debut, received positive criticism for her portrayal of the lead role. Rand had many heated disputes with Woods over script changes he wanted for the Broadway production. 1968 she re-edited the script for publication as the “definitive” version. Black and white photo of a white woman. She is wearing a dark sleeveless top and facing the camera with her body turned to the side.

Rand the idea to write a play featuring a trial. Rand wanted her play’s ending to depend on the result of the trial, rather than having a fixed final scene. Swedish businessman known as the “Match King” for the matchstick-manufacturing monopolies he owned, before he was found dead in March 1932. When Kreuger’s business empire became financially unstable, he shot himself after being accused of executing underhanded and possibly illegal financial deals.

This incident inspired Rand to make the victim a businessman of great ambition and dubious character, who had given several people motives for his murder. She wrote the stage play with the hope of making money from it while finishing her novel. By 1934 her agent was trying to sell the play and the novel, but both were repeatedly rejected. Rand’s contract for rewrites on it expired.

Rand’s husband, actor Frank O’Connor, was getting only minor roles with little pay, leaving the couple in financial difficulties. The contract included a condition that Woods could make changes to the script. Wary that he would destroy her vision of the play to create a more conventional drama, Rand turned Woods down. At the end of the play’s run in Los Angeles, Woods renewed his offer to produce the play on Broadway. Being refused by a neophyte author shocked him and increased his interest.

Woods still wanted the right to make script changes, but he made adjustments to the contract to give Rand more influence. She reluctantly agreed to his terms. Rand arrived in New York City at the beginning of December 1934 in anticipation of the opening in January. When work resumed, Rand’s relationship with Woods quickly soured as he demanded changes she later derided as “a junk heap of worn, irrelevant melodramatic devices”. The contract between Woods and Rand allowed him to hire collaborators if he thought it necessary, paying them a limited portion of the author’s royalties. He first hired John Hayden to direct, paying him one percentage point from Rand’s 10-percent royalty. Although Hayden was a successful Broadway director, Rand disliked him and later called him “a very ratty Broadway hanger-on”.

As auditions for the play began in Philadelphia, Woods demanded further script changes and was frustrated by Rand’s refusal to make some of them. Weitzenkorn argued over political differences as well as his ideas for the play. Woods gave Weitzenkorn another percentage point from Rand’s royalties without informing her. Weitzenkorn receiving any portion of her royalties, and told the arbitration panel Weitzenkorn had added only a single line to the play, which was cut after the auditions. Woods could not deduct the payment from Rand’s royalties because she had not been notified in advance.

September 16, 1935, where it ran successfully for seven months. It closed on April 4, 1936, after 283 performances. Black and white portrait photo of a white man with dark hair. He is wearing a dark suit and holding papers in his left hand. When the play’s success on Broadway was clear, Woods launched productions of the play in other cities, starting with San Francisco.

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