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Broadway Goes to WarAmerican Theater during World War II$
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Robert L. McLaughlin and Sally E. Parry

Print publication date: 2021

Print ISBN-13: 9780813180946

Published to Kentucky Scholarship Online: September 2021

DOI: 10.5810/kentucky/9780813180946.001.0001

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PRINTED FROM KENTUCKY SCHOLARSHIP ONLINE (www.kentucky.universitypressscholarship.com). (c) Copyright The University Press of Kentucky, 2022. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in KSO for personal use.date: 28 June 2022

Before Pearl Harbor

Before Pearl Harbor

Chapter:
(p.23) 2 Before Pearl Harbor
Source:
Broadway Goes to War
Author(s):

Robert L. McLaughlin

Sally E. Parry

Publisher:
University Press of Kentucky
DOI:10.5810/kentucky/9780813180946.003.0002

A range of deeply held convictions and loudly proclaimed opinions was reflected in the New York theater in the years before Pearl Harbor. Between 1933 and 1941 New York theatergoers saw plays representing multifarious positions, from pacifism and anti-intervention to critiques of fascism. This variety represents the public discourses of the time, a time of confusion and uncertainty, when there was no single way of understanding the problems facing us and no clear path through the problems into the future. Some plays, such as Robert E. Sherwood's Idiot's Delight, Lillian's Hellman's Watch on the Rhine, Robert Ardrey's Thunder R ock, and Maxwell Anderson's Key Largo, used the world crisis as a means of considering the state of the nation during great economic upheaval or the state of the individual as the world teetered toward a war that seemed inevitable.

Keywords:   Pacifism, Anti-interventionism, Lillian Hellman, Watch on the Rhine, Robert E. Sherwood, Idiot's Delight, Robert Ardrey, Thunder Rock, Maxwell Anderson, Key Largo

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