Lamp At Midnight is a play that was written by Barrie Stavis, [1] and first produced in 1947 at New Stages, New York. [2] The play treats the 17th Century Galileo affair, which was a profound conflict between the Roman Catholic Church and Galileo Galilei over the interpretation of his astronomical observations using the newly invented telescope. By coincidence, Bertolt Brecht's play on the same theme, Life of Galileo , opened in New York just a few weeks before Lamp at Midnight. Some critics now consider Galileo to be a masterpiece, [3] but in 1947 the New York Times reviewer, Brooks Atkinson, preferred Lamp at Midnight. [2] [4]
A revival of Lamp at Midnight directed by Sir Tyrone Guthrie and starring Morris Carnovsky toured the United States in 1969. [5]
Lamp at Midnight | |
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Directed by | George Schaefer |
Screenplay by | Robert Hartung |
Based on | Lamp at Midnight by Barrie Stavis |
Starring | Melvyn Douglas Kim Hunter Hurd Hatfield William Kerwin |
Music by | Bernard Green |
Release date |
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Running time | 76 minutes |
Country | United States |
Language | English |
A television adaptation, directed by George Schaefer and starring Melvyn Douglas as Galileo, appeared in the Hallmark Hall of Fame series in 1966. [6] [7] A recording of the television performance was released to video in 1983. [8]
Charles Laughton was a British-American actor. He was trained in London at the Royal Academy of Dramatic Art and first appeared professionally on the stage in 1926. In 1927, he was cast in a play with his future wife Elsa Lanchester, with whom he lived and worked until his death.
Joseph Walton Losey III was an American theatre and film director, producer, and screenwriter. Born in Wisconsin, he studied in Germany with Bertolt Brecht and then returned to the United States. Blacklisted by Hollywood in the 1950s, he moved to Europe where he made the remainder of his films, mostly in the United Kingdom. Among the most critically and commercially successful were the films with screenplays by Harold Pinter: The Servant (1963) and The Go-Between (1971).
Life of Galileo, also known as Galileo, is a play by the 20th century German dramatist Bertolt Brecht and collaborator Margarete Steffin with incidental music by Hanns Eisler. The play was written in 1938 and received its first theatrical production at the Zurich Schauspielhaus, opening on the 9th of September 1943. This production was directed by Leonard Steckel, with set-design by Teo Otto. The cast included Steckel himself, Karl Paryla and Wolfgang Langhoff.
Mother Courage and Her Children is a play written in 1939 by the German dramatist and poet Bertolt Brecht (1898–1956), with significant contributions from Margarete Steffin. Four theatrical productions were produced in Switzerland and Germany from 1941 to 1952, the last three supervised and/or directed by Brecht, who had returned to East Germany from the United States.
Mary Frances Heflin was an American actress. She is best known for her role as Mona Kane Tyler on the soap opera All My Children (1970–1994).
Lionel Jay Stander was an American actor, activist, and a founding member of the Screen Actors Guild. He had an extensive career in theatre, film, radio, and television that spanned nearly 70 years, from 1928 until 1994. He was known for his distinctive raspy voice and tough-guy demeanor, as well as for his vocal left-wing political stances. One of the first Hollywood actors to be subpoenaed before the House Un-American Activities Committee, he was blacklisted from the late 1940s until the mid-1960s.
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Morris Carnovsky was an American stage and film actor. He was one of the founders of the Group Theatre (1931-1940) in New York City and had a thriving acting career both on Broadway and in films until, in the early 1950s, professional colleagues told the House Un-American Activities Committee that Carnovsky had been a Communist Party member. He was blacklisted and worked less frequently for a few years, but then re-established his acting career, taking on many Shakespearean roles at the Stratford Shakespeare Festival and performing the title roles in college campus productions of King Lear and The Merchant of Venice. Carnovsky's nephew is veteran character actor and longtime "Pathmark Guy" James Karen.
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George Louis Schaefer was an American director of television and Broadway theatre, who was active from the 1950s to the 1990s.
Barrie Stavis was an American playwright. He wrote several plays about men struggling in the vortex of history. His subjects include scientist Galileo, abolitionist John Brown, and labor leader Joe Hill. His play, Lamp at Midnight, about Galileo's struggle with the Catholic Church to get his ideas accepted, was performed and televised on the Hallmark Hall of Fame in 1966. Melvyn Douglas starred as Galileo.
Round Heads and Pointed Heads is an epic parable play written by the German dramatist Bertolt Brecht, in collaboration with Margarete Steffin, Emil Burri, Elisabeth Hauptmann, and the composer Hanns Eisler. The play's subtitle is Money Calls to Money and its authors describe it as "a tale of horror." The play is a satirical anti-Nazi parable about a fictitious country called Yahoo in which the rulers maintain their control by setting the people with round heads against those with pointed heads, thereby substituting racial relations for their antagonistic class relations. The play is composed of 11 scenes in prose and blank verse and 13 songs. Unlike another of Brecht's plays from this period, The Mother, Round Heads and Pointed Heads was addressed to a wide audience, Brecht suggested, and took account of "purely entertainment considerations." Brecht's notes on the play, written in 1936, contain the earliest theoretical application of his "defamiliarization" principle to his own "non-Aristotelian" drama.
Galileo is a 1975 biographical film about the 16th- and 17th-century scientist Galileo Galilei, whose astronomical observations with the newly invented telescope led to a profound conflict with the Roman Catholic Church. The film is an adaptation of Bertolt Brecht's 1943 play of the same name. The film was produced by Ely Landau for the American Film Theatre, which presented thirteen film adaptations of plays in the United States from 1973 to 1975. Brecht's play was recently called a "masterpiece" by veteran theater critic Michael Billington, as Martin Esslin had in 1960. The film's director, Joseph Losey, had also directed the first performances of the play in 1947 in the US — with Brecht's active participation. The film is fairly true to those first performances, and is thus of historical significance as well.
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Eugen Berthold Friedrich Brecht, known professionally as Bertolt Brecht, was a German theatre practitioner, playwright, and poet. Coming of age during the Weimar Republic, he had his first successes as a playwright in Munich and moved to Berlin in 1924, where he wrote The Threepenny Opera with Elisabeth Hauptmann & Kurt Weill and began a life-long collaboration with the composer Hanns Eisler. Immersed in Marxist thought during this period, he wrote didactic Lehrstücke and became a leading theoretician of epic theatre and the Verfremdungseffekt.
Barbara Bray was an English translator and critic.
Serge Hovey was a composer and ethnomusicologist.
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It is a deeply moving play with a passionate theme and a resolute point of view.
the real pleasure of Roxana Silbert's modern-dress RSC revival and Mark Ravenhill's slimmed-down translation lies in the absolute clarity with which they put Brecht's masterpiece before us.
In Los Angeles, Brecht worked for several years with Laughton on an English translation/adaptation, Galileo, which opened in 1947 in Los Angeles and then on Broadway with Laughton playing the title role. The American productions, directed by Joseph Losey (with a great deal of input from Brecht), received mixed reviews in Los Angeles and harsher reviews in New York, where the production met with less success than another play about Galileo, The Lamp at Midnight, by Barrie Stavis, which opened two weeks after Brecht's play.
It was an hour of interesting storytelling, but hardly stimulating theater.
Although producer-director George Schaefer was willing to defy the blacklist in casting the production, he was more careful about offending the Church.Discussion of the reception of Stavis' play in 1947 and the production of the television adaptation in 1966. Both Melvyn Douglas and Kim Hunter, stars of the 1966 television production, had few opportunities for film and television work through the 1950s as a consequence of the Hollywood blacklist.