Lefty in Pittsburgh
Sirs:
Your very interesting story titled "AgitProp" [TIME, June 17], which tells of the campaign of suppression accorded Clifford Odets' Waiting for Lefty and of the currently expanding workers' theatre, should be amplified to a certain extent. Your write-up does not mention a rather amazing and in ways amusing "Pittsburgh episode" which is newsworthy as well.
Although outside New York the Odets piece has, in certain sections, been banned, in others its actors jailed, its director kidnapped, the two Pittsburgh presentations have been hailed, applauded and even encouraged. The local "workers' theatre," which presented the piece as the New Theatre in Pittsburgh, is composed of the "shirt-sleeved amateurs" you mention in your article. This group entered the local Drama League Contest—a yearly competition of amateur groups sponsored by conservative Drama League (a stuffy organization of "drama enthusiasts")—won it easily—were awarded the Samuel French Trophy and $50—and next morning got headlines in the Pittsburgh Sun-Telegraph's (Hearst) theatre page. A few days later, flushed by the success of their prizewinner, the same group presented Waiting for Lefty in a local theatre which seats slightly over 600 persons. The performance was S.R.O., and the box-office receipts showed over 900 paid admissions. The play was performed exactly as produced in New York except for damns instead of goddamns. This is ironical inasmuch as anyone who is familiar with the play knows well that the profanity is the least objectionable element from the censors' point of view.
I have no explanation for this Pittsburgh "phenomenon." I should hesitate to call Pittsburgh "tolerant" so I refuse to bet very heavily on the reception accorded subsequent Pittsburgh productions of Waiting for Lefty scheduled in the near future.
WILLIAM G. BEAL
National Broadcasting Co., Inc. Pittsburgh, Pa.
Lefty in Boston
Sirs:
—Not only those who are concerned with the theatre but everyone who wants to preserve the American heritage of civil liberties will bitterly resent this arbitrary suppression of a play which has been widely acclaimed.'" That quotation from your article "AgitProp" in TIME, June 17 is an excellent expression of what we in Boston are now fighting for.
The New Theatre Players of Boston have played before Harvard, Smith and Dartmouth students, labor unions and clubs.
Despite the opposition, sudden coming to life of old "fire-laws," imprisonment on charges of "profanity and blasphemy," intimidation of managers of halls and the like—rehearsals and production of Waiting for Lefty have gone on. Body, voice and acting classes continue with unabated zeal and new members arrive after almost every performance. . . .
The theatre for the people—by the people—certainly is destined for merited prominence despite conservatism or hooliganism. THE NEW THEATRE PLAYERS OF BOSTON
Boston, Mass.
Sirs: