In Miami last week, a Federal Theatre labor play, Altars of Steel, had reached its 15th and climactic scene. The boss was barricaded inside his factory. A mob was milling outside the gates. A Liberal swung at a Communist, the Communist shot him, company guards shot the Communist. Ensued a terrific free-for-all which seemed like fine convincing stuff to the audience. And it was. Carried away by the action, the mob had suddenly taken violent sides, started swinging at each other in earnest. When the curtain came down, three limp actors were stretched out on the stage.
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