production

In the late 1940s and early 1950s, with front-runners such as T.S. Eliot, Christopher Fry and Archibald Macleish, there was a concerted effort to revive language in the American theater. The buzzword was \”heightened speech\” and, although all of these writers essentially wrote verse, producers tried to steer clear of the word \”poetry.\” They sensed that American theatergoers would recoil from any attempts to have anything as exotic as that foisted upon them. Just as, at around the same period, when they were risking capital on shows like \”The Most Happy Fella\” and the early works of Gian Carlo Menotti, they avoided the word \”opera.\” Music-drama seemed a safer rubric.