All in all, Broadway could look back with greater pride on 1946-47 than on any other season since Pearl Harbor. There was no call to use the fancier adjectives; no forgetting a long procession of triteness and trash. But beyond a discernible increase in merit, there was a distinct effect of movement—of a theater aiming to get places, and not just by the same old routes.
Broadway could particularly pat its own back on three scores:
Drama. Eugene O'Neill's first play in twelve years, The Iceman Cometh, was second-rate O'Neill, but even so, added stature...
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