A Grand Night for Singing
A Grand Night for Singing is a musical revue showcasing the music of Richard Rodgers and the lyrics of Oscar Hammerstein II. Featuring songs from such lesser-known works as Allegro, Me and Juliet, State Fair, Pipe Dream, modest successes like Flower Drum Song and hits like Carousel, Oklahoma!, The King and I, South Pacific and The Sound of Music, it was presented cabaret-style at Rainbow & Stars at the top of Rockefeller Center. After 41 previews, the Broadway production, directed by Walter Bobbie and choreographed by Pamela Sousa, with vocal arrangements by Fred Wells and orchestrations by Michael Gibson and Jonathan Tunick, opened on November 17, 1993, at the Criterion Center Stage Right, where it ran for 52 performances. Victoria Clark, Jason Graae, Alyson Reed, Martin Vidnovic, Lynne Wintersteller comprised the cast. Martin Vidnovic is replaced by Gregg Edelman in the cast recording, some performances, it was nominated for two Tony Awards, for Best Musical and Best Book of a Musical, the Drama Desk Award for Outstanding Revue.
An original cast recording was released by Varèse Sarabande. A Grand Night for Singing at the Internet Broadway Database
1776 is a musical with music and lyrics by Sherman Edwards and a book by Peter Stone. The story is based on the events surrounding the signing of the Declaration of Independence, it dramatizes the efforts of John Adams to persuade his colleagues to vote for American independence and to sign the document. It premiered on Broadway in 1969, earning warm reviews, ran for 1,217 performances; the production was nominated for five Tony Awards and won three, including the Tony Award for Best Musical. In 1972 it was made into a film adaptation, it was revived on Broadway in 1997. In 1925, Rodgers and Hart had written a musical about the American Revolution, called Dearest Enemy. Additionally, in 1950, a musical about the Revolution had been presented on Broadway, titled Arms and the Girl, with music by Morton Gould, lyrics by Dorothy Fields, a book by Herbert Fields, Dorothy Fields and Rouben Mamoulian, the show's director. Sherman Edwards, a writer of pop songs with several top 10 hits in the late 1950s and early'60s, spent several years developing lyrics and libretto for a musical based on the signing of the Declaration of Independence.
Edwards recounted. These men were the cream of their colonies.... They fought with each other, but they understood commitment, though they fought, they fought affirmatively." Producer Stuart Ostrow recommended that librettist Peter Stone collaborate with Edwards on the book of the musical. Stone recalled, The minute you heard, you knew what the whole show was.... You knew that John Adams and the others were not going to be treated as gods or cardboard characters, chopping down cherry trees and flying kites with strings and keys on them, it had this affectionate familiarity. Adams, the outspoken delegate from Massachusetts, was chosen as the central character, his quest to persuade all 13 colonies to vote for independence became the central conflict. Stone confined nearly all of the action to Independence Hall and the debate among the delegates, featuring only two female characters, Abigail Adams and Martha Jefferson, in the entire musical. After tryouts in New Haven, Conn. and Washington, the show opened on Broadway at the 46th Street Theatre on March 16, 1969.
Peter Hunt directed. NOTE: The show can be performed in one or two acts. On May 8, 1776, in Philadelphia, the Second Continental Congress proceeds with its business. John Adams, the disliked delegate from Massachusetts, is frustrated because Congress will not vote on, or entertain debating, any of his proposals on independence; the other delegates, too preoccupied by the rising heat, implore him to sit down. Adams' response is, he reads the latest missive to his loving wife Abigail. He asks if she and the other women are making saltpeter for the war effort, but she ignores him and states the women have a more urgent problem: no straight pins, they bicker about it until Adams gives in and they pledge their love to each other. That day, Adams finds delegate Benjamin Franklin outside. Adams bemoans the failure of his arguments for independence. Richard Henry Lee of Virginia enters; the cocky Lee crows. Adams has reservations, but Lee is convinced he cannot fail, as a member of the oldest and most glorious family in America: the Lees.
He is prepared to ask the Virginia House of Burgesses to authorize him to offer a pro-independence resolution. June 7, 1776. Franklin and Adams enter, the delegates, along with the President of Congress, John Hancock, the Secretary, Charles Thomson, take their places. Hancock gavels the 380th meeting of the Congress to order; the entire New Jersey delegation is absent. Thomas Jefferson, a young delegate from Virginia, announces that he is leaving that night to visit his wife. Soon after Hancock opens the floor to new resolutions, Richard Henry Lee canters into the chamber, having returned from Virginia. Lee reads his resolution, but John Dickinson of Pennsylvania moves to indefinitely postpone the question of independence. A vote is taken; as the debate proceeds, Caesar Rodney of Delaware is forced to return home due to poor health. The New Jersey delegation arrives with orders resulting in a 6-6 split. Dickinson moves that any vote for independence must pass unanimously, on the grounds that "no colony be torn from its mother country without its own consent."
The vote produces the same tie, which Hancock breaks by unexpectedly voting for unanimity, prompting an angry outburst from Adams. Hancock reasons that without unanimity, any colony voting against independence would be forced to fight on England's side, setting brother against brother. Adams, thinking fast, calls for a postponement of the vote on independence, expressing the need for a declaration defining the reasons for independence. Franklin seconds Adams, but when asked why such a declaration should be written, both are lost for words until Thomas Jef
Stephen Sondheim Theatre
Stephen Sondheim Theatre Henry Miller's Theatre, is a Broadway theatre operated by Roundabout Theatre Company, located at 124 West 43rd Street, between Broadway and 6th Avenue, in Manhattan's Theater District. Designed in the Neo-classical style by architects Paul R. Allen and Ingalls & Hoffman, it was built by and named for actor-producer Henry Miller, his financial backers were Elizabeth Milbank Anderson, owner of the lot at 124 West 43rd, Klaw & Erlanger. The 950-seat theatre opened on April 1918, hosting the play The Fountain of Youth, it was the first air-conditioned theater in Manhattan. The theatre had its first hit show with Noël Coward's The Vortex in 1926. Following Miller's death that year, the theatre was managed by his son, who bought the Klaw & Erlanger interest and paid 25% of the gross take of each play he produced to the Milbank Memorial Fund, Anderson's legatee. From the 1930s through the late 1960s, the theater enjoyed its golden years, with performances by Helen Hayes, Leslie Howard, Lillian Gish, Douglas Fairbanks, Ruth Chatterton gracing its stage.
In 1966, the Miller family sold the theatre to the Nederlanders, who sold it on in 1968 to Seymour Durst. It showed feature films as the Park-Miller. In 1978, it was converted into the discotheque Xenon. On August 31, 1985, the space opened as SHOUT, a nightclub featuring music from the 1950s and 60s, which operated for six years; the space reopened in 1995 as Club Expo, under the management of Matthew Johnson of Samba Brands Management. In 1998, the facility returned to performance use as the Kit Kat Club, a “club within a club” concept developed by Johnson and his partners. Named after the Berlin nightclub in the 1966 musical Cabaret, the Kit Kat Club housed Roundabout Theatre Company’s popular revival of the musical. After hours, the location served as a popular nightclub featuring burlesque entertainment and dancing. On July 22, 1998, a nearby construction accident temporarily closed the building and forced Roundabout Theatre Company to relocate to Studio 54 to finish their production; the Kit Kat Club continued to operate as a nightclub and a venue for private parties until it closed on April 11, 2000.
The space was rechristened the Henry Miller when Urinetown opened in 2001. The theater closed in 2004, the interior demolished and subsequently rebuilt by the Durst Organization to make way for the 57-story Bank of America Tower, its neo-Georgian facade, landmarked by the city and includes a 1,055-seat theater designed by New York firm of Cook+Fox Architects within the new structure. With bank facilities located above, architects were forced to design and build the new theater underground; this makes the theater one of only two subterranean houses on Broadway. In 2007, the Roundabout Theatre Company announced it would operate the theater as its third Broadway venue; the new theater opened in September 2009 with the Roundabout Theatre Company production of a revival of the musical Bye Bye Birdie. On March 22, 2010, his eightieth birthday, Roundabout announced that Henry Miller's Theatre would be renamed to honor American composer and lyricist Stephen Sondheim; the official unveiling and lighting of the marquee of the new Stephen Sondheim Theatre took place in a ceremony on September 15, 2010.
The first production at the newly renamed Stephen Sondheim Theatre was The Pee-wee Herman Show, which played a limited ten-week engagement from October 26, 2010 through January 2, 2011. A revival of Anything Goes starring Sutton Foster and Joel Grey, followed from April 7, 2011 through July 8, 2012. Since November 21, 2013, the theater has been home to Beautiful: The Carole King Musical. Notes BibliographyHenderson, Mary C; the City and the Theatre, Watson-Guptill, ISBN 0-8230-0637-9, pp. 244–245 Stephen Sondheim Theatre page at Roundabout Theatre Company website Stephen Sondheim Theatre at the Internet Broadway Database Stephen Sondheim Theatre in the New York City Theater Guide
No Man's Land (play)
No Man's Land is a play by Harold Pinter written in 1974 and first produced and published in 1975. Its original production was at the Old Vic theatre in London by the National Theatre on 23 April 1975, it transferred to Wyndham's Theatre, July 1975 – January 1976, the Lyttelton Theatre April–May 1976, New York October–December, returning to the Lyttelton, January–February 1977. "A large room in a house in North West London" on a summer night and the following morning. Hirst, a man in his sixties Spooner, a man in his sixties Foster, a man in his thirties Briggs, a man in his fortiesHirst is an alcoholic upper-class litterateur who lives in a grand house presumed to be in Hampstead, with Foster and Briggs his purported amanuensis and man servant, who may be lovers. Spooner, a "failed, down-at-heel poet" whom Hirst has "picked up in a Hampstead pub" and invited home for a drink, becomes Hirst's house guest for the night; the four characters are named after cricket players. It has been suggested that Spooner was inspired by the poet Eddie Linden, whom Pinter knew.
A man in his sixties named Hirst begins a night of heavy drinking in his drawing room with an anonymous peer whom he only just met at a pub. Hirst's overly talkative guest, calling himself a poet, long-windedly explains how he is penetratingly perceptive, until he introduces himself as "Spooner"; as the men are becoming more intoxicated, Hirst rises and throws his glass, while Spooner abruptly taunts Hirst about his masculinity and wife. Hirst comments "No man's land...does not move...or change...or grow old...remains...forever...icy...silent", before collapsing twice and crawling out of the room. A young man enters and suspiciously questions Spooner, who now becomes silent, about his identity; the younger man introduces himself as John "Jack" Foster before the entrance of a fourth man, in his forties and who unsuccessfully questions Spooner and bickers with Foster. At last, Hirst reenters, having slept, struggles to remember a recent dream. Foster and Briggs have started drinking, they refill the older men's glasses.
Hirst mentions an album of photographs he keeps, commenting on the appearances of the people in the album. He does not appear to remember Spooner's identity, insisting that his true friends are kept safely in the album, he begins drinking straight from the bottle, mutters incoherent statements, continues to ponder his dream—involving someone drowning—when Spooner abruptly says that he was the one drowning in Hirst's dream. Hirst drunkenly collapses and Spooner now rushes in to Hirst's aid, brushing away the two younger men and claiming to be Hirst's true friend; the younger pair becomes defensive and accusatory, asserting their obligation to protect Hirst against "men of evil". Foster criticises his own past, as well as Hirst's impulsiveness and alcoholism, it becomes apparent that Foster is Hirst's apprentice and housekeeper, Briggs is Hirst's personal servant. All exit except for Spooner and Foster, the latter of whom says, "Listen. You know what it's like when you're in a room with the light on and suddenly the light goes out?
I'll show you. It's like this", he flicks off the lights. The next morning, alone, stands from his chair and attempts to leave, but the door is locked. Briggs soon enters to deliver Spooner food and champagne, rambling on about how he met Foster and ignoring Spooner's desire to know why the door was locked. Spooner thinks of a quick excuse to leave. Hirst himself bursts in and is delighted to see Spooner, whom he oddly mistakes for an old friend, he speaks as though the two were Oxbridge classmates in the 1930s, which Spooner plays along with. Hirst and Spooner bizarrely discuss scandalous romantic encounters they both had with the same women, leading to a series of questionable reminiscences, until Hirst is accused of having had an affair with Spooner's own wife. All the while, Hirst refers to Briggs by a variety of inconsistent names and launches into a rant about once-known faces in his photo album. Spooner says that Foster, who now reappears, should have pursued his dream of being a poet, instead of working for Hirst.
Spooner shows great interest in seeing Hirst's photo album, but both Briggs and Foster discourage this. All four are now drinking champagne, Foster, for his own pride and dignity's sake, abruptly asserts that he desired to work in this house of his own choice, where he feels privileged to serve as famous a writer as Hirst. Spooner asks that Hirst consider hiring him as well, verbosely praising his own work ethic and other virtues. After all this, Hirst replies "Let's change the subject for the last time", after a pause worriedly asks "What have I said?" Foster explains definitively that Hirst's statement means that he will never be able to change the subject again. Hirst thinks back to his youth. Spooner now comments, "No. You are in no man's land. Which never moves, which never changes, which never grows older, but which remains forever and silent." Hirst responds "I'll drink to that!" and the lights fade to black. The London première of No Man's Land, directed by Peter Hall, opened at the Old Vic Theatre, on 24 April 1975, starri
Tartuffe, or The Impostor, or The Hypocrite, first performed in 1664, is one of the most famous theatrical comedies by Molière. The characters of Tartuffe and Orgon are considered among the greatest classical theatre roles. Molière wrote Tartuffe in 1664. Following its first performance that same year at the Versailles fêtes, it was censored by King Louis XIV due to the influence of the archbishop of Paris, Paul Philippe Hardouin de Beaumont de Péréfixe, the King's confessor and had been his tutor. While the king had little personal interest in suppressing the play, he did so because, as stated in the official account of the fête: "...although it was found to be diverting, the king recognized so much conformity between those that a true devotion leads on the path to heaven and those that a vain ostentation of some good works does not prevent from committing some bad ones, that his extreme delicacy to religious matters can not suffer this resemblance of vice to virtue, which could be mistaken for each other.
As a result of Molière's play, contemporary French and English both use the word "tartuffe" to designate a hypocrite who ostensibly and exaggeratedly feigns virtue religious virtue. The play is written in 1,962 twelve-syllable lines of rhyming couplets. Orgon's family is up in arms because Orgon and his mother have fallen under the influence of Tartuffe, a pious fraud. Tartuffe pretends to be pious and to speak with divine authority, Orgon and his mother no longer take any action without first consulting him. Tartuffe's antics do not fool the rest of their friends. Orgon raises the stakes. Mariane feels upset at this news, the rest of the family realizes how Tartuffe has embedded himself into the family. In an effort to show Orgon how awful Tartuffe is, the family devises a scheme to trap Tartuffe into confessing to Elmire his desire for her; as a pious man and a guest, he should have no such feelings for the lady of the house, the family hopes that after such a confession, Orgon will throw Tartuffe out of the house.
Indeed, Tartuffe does try to seduce Elmire, but their interview is interrupted when Orgon's son Damis, eavesdropping, is no longer able to control his boiling indignation and jumps out of his hiding place to denounce Tartuffe. Tartuffe is at first shocked but recovers well; when Orgon enters the room and Damis triumphantly tells him what happened, Tartuffe uses reverse psychology and accuses himself of being the worst sinner: Oui, mon frère, je suis un méchant, un coupable. Un malheureux pécheur tout plein d'iniquité. Orgon is convinced that Damis banishes him from the house. Tartuffe gets Orgon to order that, to teach Damis a lesson, Tartuffe should be around Elmire more than ever; as a gift to Tartuffe and further punishment to Damis and the rest of his family, Orgon signs over all his worldly possessions to Tartuffe. In a scene, Elmire takes up the charge again and challenges Orgon to be witness to a meeting between herself and Tartuffe. Orgon easily convinced, decides to hide under a table in the same room, confident that Elmire is wrong.
He overhears Elmire resisting Tartuffe's forward advances. When Tartuffe has incriminated himself beyond all help and is dangerously close to violating Elmire, Orgon comes out from under the table and orders Tartuffe out of his house, but this wily guest means to stay, Tartuffe shows his hand. It turns out that earlier, before the events of the play, Orgon had admitted to Tartuffe that he had possession of a box of incriminating letters. Tartuffe had taken charge and possession of this box, now tells Orgon that he will be the one to leave. Tartuffe takes his temporary leave and Orgon's family tries to figure out what to do. Soon, Monsieur Loyal shows up with a message from Tartuffe and the court itself – they must move out from the house because it now belongs to Tartuffe. Dorine makes fun of Monsieur Loyal's name. Madame Pernelle, who had refused to believe any ill about Tartuffe in the face of her son's seeing it, has become convinced by this time of Tartuffe's duplicity. No sooner does Monsieur Loyal leave than Valère rushes in with the news that Tartuffe has denounced Orgon for aiding and assisting a traitor by keeping the incriminating letters and that Orgon is about to be arrested.
Before Orgon can flee, Tartuffe arrives with an officer, but to his surprise the officer arrests him instead. The officer explains that the enlightened King Louis XIV—who is not mentioned by name—has heard of the injustices happening in the house and, appalled by Tartuffe's treachery towards Orgon, has ordered Tartuffe's arrest instead; as a reward for Orgon's previous good services, the King not only forgives him for keeping the letters but invalidates the deed that gave Tartuffe possession of the house and all Orgon's possessions. The entire family thanks its lucky stars that it has escaped the mortification of both Orgon's potential disgrace and their dispossession; the drama ends w
Midtown Manhattan is the central portion of the borough of Manhattan in New York City. Midtown is home to some of the city's most iconic buildings, including the Empire State Building, the Chrysler Building, the Hudson Yards Redevelopment Project, the headquarters of the United Nations, Grand Central Terminal, Rockefeller Center, as well as Broadway and Times Square. Midtown Manhattan is the largest central business district in the world and ranks among the most expensive pieces of real estate. However, due to the high price of retail spaces in Midtown, there are many vacant storefronts in the neighborhood. Midtown is the country's largest commercial and media center, a growing financial center; the majority of New York City's skyscrapers, including its tallest hotels and apartment towers, are in Midtown. The area hosts commuters and residents working in its offices and retail establishments and students. Times Square, the brightly illuminated hub of the Broadway Theater District, is a major center of the world's entertainment industry.
Sixth Avenue has the headquarters of three of the four major U. S. television networks. Midtown is part of Manhattan Community District 5, it is patrolled by the 18th Precincts of the New York City Police Department. Geographically, the northern bound of Midtown Manhattan is defined to be 59th Street. Midtown spans the entire island of Manhattan along an east-west axis, bounded by the East River on its east and the Hudson River to its west; the Encyclopedia of New York City defines Midtown as extending from 34th Street to 59th Street and from 3rd Avenue to 8th Avenue. In addition to its central business district, Midtown Manhattan encompasses many neighborhoods, including Hell's Kitchen and Chelsea on the West Side, Murray Hill, Kips Bay, Turtle Bay, Gramercy Park on the East Side, it is sometimes broken into "Midtown East" and "Midtown West", or north and south as in the New York City Police Department's Midtown North and Midtown South precincts. Neighborhoods in the Midtown area include the following: Between 59th Street to the north and 42nd Street to the south, from west to east: Hell's Kitchen from the Hudson River to Eighth Avenue, including Theatre Row on West 42nd Street between Eleventh Avenue and Ninth Avenue, where Hell's Kitchen meets Central Park and the Upper West Side at West 59th Street and Eighth Avenue, Columbus Circle Times Square and the Theater District from West 42nd Street to around West 53rd Street, from Eighth Avenue to Sixth Avenue The Diamond District on West 47th Street between Sixth Avenue and Fifth Avenue Midtown East from around Sixth Avenue to the East River, including: Sutton Place near the East River between East 53rd Street and East 59th Street Turtle Bay from 53rd Street to 42nd Street and from Lexington Avenue to the East River Tudor City from First Avenue to Second Avenue and East 40th Street to East 43rd Street Between 42nd Street north and around 34th Street, from west to east, north to south: Hell's Kitchen from the Hudson River to Eighth Avenue The Garment District from West 42nd Street to West 34th Street and from Ninth Avenue to Fifth Avenue Herald Square around the intersection of Broadway, Sixth Avenue, West 34th Street Murray Hill from East 42nd Street to East 34th Street and Fifth Avenue to Second Avenue Between 34th Street and 23rd Street, from west to east: Chelsea, between the Hudson River and Sixth Avenue Koreatown from 36th Street to 31st Street and Fifth and Sixth Avenues, centered on "Korea Way" on 32nd Street between Fifth Avenue and Broadway Rose Hill or Curry Hill between Madison Avenue and Third Avenue Kips Bay from Third Avenue to the East River Between 23rd Street and 14th Street, going west to east and north to south: Chelsea, between the Hudson River and Sixth Avenue The Meatpacking District in the southwesternmost corner of Midtown, to the south of West 15th Street Madison Square and the Flatiron District, the area surround the intersection of Broadway, Fifth Avenue and 23rd Street.
Union Square, to the northeast of the intersection of Broadway, East 14th Street and Park Avenue South Gramercy from East 23rd Street to East 14th Street and Lexington Avenue to First Avenue Peter Cooper Village from East 23rd Street to East 20th Street and 1st Avenue to Avenue C Stuyvesant Town from East 20th Street to East 14th Street and First Avenue to Avenue CMidtown is the original district in the United States to bear the name and included historical but now defunct neighborhoods such as the Ladies' Mile, along Fifth Avenue from 14th to 23rd Street. Important streets and thoroughfares Broadway 34th Street 42nd Street The border of Midtown Manhattan is nebulous and further confused by the fact that the term "Midtown Manhattan" can be used to refer either to a district or a group of neighborhoods and districts in Manhattan: The area between 14th and 86th Streets includes the center of Manhattan. Manhattan Community District 5 is located from 14th to 59th Streets between Lexington Avenue and Eighth Avenue.
Community District 5 is coterminous with Midtown but includes the Flatiron District, NoMad, Union Square, parts of Gramercy Park an
Ferenc Molnár was a Hungarian-born author, stage-director and poet regarded as Hungary’s most celebrated and controversial playwright. His primary aim through his writing was to entertain by transforming his personal experiences into literary works of art, he was never connected to any one literary movement but he did utilize the precepts of Naturalism, Neo-Romanticism and the Freudian psychoanalytical concepts, but only as long as they suited his desires. “By fusing the realistic narrative and stage tradition of Hungary with Western influences into a cosmopolitan amalgam, Molnár emerged as a versatile artist whose style was uniquely his own.” As a novelist, Molnár may best be remembered for The Paul Street Boys, the story of two rival gangs of youths in Budapest. It has been adapted for the stage and film, it has been considered a masterpiece by many. It was, however, as a playwright that he made his greatest contribution and how he is best known internationally. "In his graceful, sophisticated drawing-room comedies, he provided a felicitous synthesis of Naturalism and fantasy and Romanticism, cynicism and sentimentality, the profane and the sublime."
Out of his many plays, The Devil, The Swan, The Guardsman and The Play's the Thing endure as classics. He was influenced by the likes of Oscar Wilde, George Bernard Shaw, Gerhart Hauptmann, he immigrated to the United States to escape persecution of Hungarian Jews during World War II and adopted American citizenship. Molnár's plays are performed all over the world, his national and international fame has inspired many Hungarian playwrights including Elemér Boross, László Fodor, Lajos Bíró, László Bús-Fekete, Ernő Vajda, Attila Orbók, Imre Földes, among others. Ferenc Molnár was born in Budapest on January 12, 1878 to Dr. Mór Neumann, a prosperous and popular gastroenterologist, Jozefa Wallfisch; the home in which he lived was gloomy. Though he was born into wealth, "It was not a friendly atmosphere for the lively and precocious Ferenc, who had to be warned to keep quiet." Just a year before his birth, Molnar's brother, László, died. His mother was frail and bedridden. Illness spread throughout the rooms of his house and young Ferenc was being told to keep quiet.
In 1887, Molnár entered the Református Gimnázium, a secondary school located in Miskolc, where he was inspired to learn foreign languages and where his talent as a writer began to take shape. At the age of fourteen he started a periodical called Haladás which sold only four copies and a secondary publication called É letképek selling only twenty copies, his first dramatic work was Kék barlang, a controversial play written and staged in the basement of a friend's house. Upon completing secondary school, Molnár went on to study law at the University of Budapest in 1895 and shortly thereafter he was sent to Geneva by his father to continue his studies at the Swiss University. While living in Geneva, he began writing often sending his work to various papers. Molnár wrote the short novella Magdolna during this time, he would travel to Paris to see some of the popular new plays. "The fashionable boulevard comedies of Bernstein, Bataille and others left a deep impression on him and greatly influenced his dramatic style."
In 1896, he abandoned a legal career to pursue a full-time career as a journalist. He covered a variety of topics during his time as a journalist but his primary focus was the court trials for Vészi's Budapesti Napló, a newspaper edited and published by József Vészi, a Jewish intellectual who dominated Hungarian political journalism. Molnár's first wife was one of Vészi's daughters, his mother died in 1898. Molnár served as a proud and jingoistic supporter of the Austro-Hungarian Empire while working as a war correspondent during the First World War. So positive were his war reports that he was decorated by the Habsburg Emperor, but criticized by some of his pacifist peers, he wrote Reflections of a War Correspondent, describing his experiences. In 1901, Molnár published his first full-length novel, Az éhes város; this contribution to literary fiction made Molnár's name familiar throughout Hungary. It was "a relentless exposé of the evil effect of money, viewed by a young, idealistic newspaperman."
The year following the release of Az éhes város, Molnár began writing for the theatre. It was in this medium that he would become internationally known, his early works as a playwright were influenced by his journalistic work. Molnár's first play, A doctor úr, the play that followed, Józsi, are both comedies that were a dramatization of newspaper sketches about a spoiled rich child and published as a collection of short dialogues, his personal life inspired a lot of his writing. After his separation from his first wife he became involved with the famous Hungarian actress, Irén Szécsi, married to a wealthy manufacturer at the time; some of his most critically successful works were influenced by this affair. In 1907, Molnár wrote Az ördög for Irén, it was performed all over Europe and In New York. The Devil was adapted into a film by the Hungarian-born American director Michael Curtiz and three years into an English language version directed by James Young. In 1907, Molnár wrot