If Eugene O'Neill represents the tragic mask of American drama, then George S. Kaufman can easily lay claim to its smiling counterpart. No other comic dramatist in America has enjoyed more popular success or been more fortunate in his choice of collaborators, which included George and Ira Gershwin, Moss Hart, Irving Berlin, and the Marx Brothers. Here, in the most comprehensive collection of Kaufman's plays ever assembled, are nine plays: his "backstage" play The Royal Family ; the Marx Brothers-inspired mayhem of Animal Crackers , in a version discovered in Groucho Marx's papers and published here for the first time; June Moon , a look at a young composer trying to make it big on Tin Pan Alley; Once in a Lifetime , one of the first satires of Hollywood; Pulitzer Prize winners Of Thee I Sing and You Can't Take It with You ; Dinner at Eight , a ensemble piece that mixes comedy and melodrama; Stage Door , his story about young actresses trying to make it in NYC; and The Man Who Came to Dinner , a burlesque of America's cult of celebrity. These plays are reminders of Broadway in its glory days.
If Eugene O'Neill represents the tragic mask of American drama, then George S. Kaufman can easily lay claim to its smiling counterpart. No other comic dramatist in America has enjoyed more popular success or been more fortunate in his choice of collaborators, which included George and Ira Gershwin, Moss Hart, Irving Berlin, and the Marx Brothers. Here, in the most comprehensive collection of Kaufman's plays ever assembled, are nine plays: his "backstage" play The Royal Family ; the Marx Brothers-inspired mayhem of Animal Crackers , in a version discovered in Groucho Marx's papers and published here for the first time; June Moon , a look at a young composer trying to make it big on Tin Pan Alley; Once in a Lifetime , one of the first satires of Hollywood; Pulitzer Prize winners Of Thee I Sing and You Can't Take It with You ; Dinner at Eight , a ensemble piece that mixes comedy and melodrama; Stage Door , his story about young actresses trying to make it in NYC; and The Man Who Came to Dinner , a burlesque of America's cult of celebrity. These plays are reminders of Broadway in its glory days.