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Ester E Olson

ESTER E OLSON   

Nationality:   n/a    Email:   n/a   Website:   n/a

Literary Agent:  n/a

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Plays by Ester E Olson

Let's Make Up

1st Produced:

- - -

- - -

Company:

n/a

1st Published:

Dramatists Play Service, NY,

ISBN/ASIN:

-

Music:

-

doollee no

#26353

To Buy This Play:

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Genre:

Comedy One Act

Parts:

Male

3

Female

3

Parts other:

-

Notes:

-

Synopsis:

Does it bore boys to have girls talk clothes, to have them make up in public? Johnny and Dick, awaiting their girls in a hotel lobby, scheme to cure them of their habits by giving them a sample of their own behavior. When the girls return the boys admire each other: "Say, that's a darling suit you have on, Johnny!" "This old rag? I can't stand it." The angry girls punctuate their resentment by powdering their noses vigorously-just the cue for the boys to begin shaving. Yes, right in the lobby, "Who's your barber, Johnny? I just love your neck clip."

Further Reference:

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Question Of Figures, A

1st Produced:

- - -

- - -

Company:

n/a

1st Published:

Dramatists Play Service, NY,

ISBN/ASIN:

-

Music:

-

doollee no

#26354

To Buy This Play:

If Publisher (above) is underlined then the play may be purchased by direct click from the Publisher, otherwise (below) are AbeBooks for secondhand, signed & 1st eds and other Booksellers for new copies

 

abebooks.com
abebooks.co.uk

stageplays.com

amazon.com

amazon.co.uk

amazon.ca

Genre:

Short Comedy One Act

Parts:

Male

-

Female

6

Parts other:

-

Notes:

-

Synopsis:

Frances, Marion and Edith are young working girls who share an apartment. But they come to the breaking point when Frances accuses the others of taking advantage of her absence to step out with her boyfriend. Breaking up housekeeping necessitates settling accounts to see "who owes who and how much"; but this proves not so easy; they have borrowed from each other indiscriminately, paid bills for each other Into this turmoil come Carol, who thinks accounts are lots of fun and thereby annoys everyone; Dorothy, who insists the way out of their dilemma is to work it out with matches (until they get spilled all over the floor); and Joan, who they discover took a course in bookkeeping. Joan goes to work on the bills, but when she is finished and declares that everyone owes Edith $13.65, the girls can sense there's something wrong. Humbly, Joan admits she dropped out after the fifth lesson. That leaves them in a nice mess, with Frances all packed and ready to leave. But then a phone call from Frances boyfriend, Russell, makes them forget personal differences, for Russell has several eligible friends at his house-and who's going to bother about settling an old account when romance is in the offing?

Further Reference:

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Swing Fever

1st Produced:

- - -

- - -

Company:

n/a

1st Published:

Dramatists Play Service, NY,

ISBN/ASIN:

-

Music:

-

doollee no

#26355

To Buy This Play:

If Publisher (above) is underlined then the play may be purchased by direct click from the Publisher, otherwise (below) are AbeBooks for secondhand, signed & 1st eds and other Booksellers for new copies

 

abebooks.com
abebooks.co.uk

stageplays.com

amazon.com

amazon.co.uk

amazon.ca

Genre:

Comedy

Parts:

Male

6

Female

2

Parts other:

-

Notes:

A high school comedy variation on Cinderella

Synopsis:

Alexander Norris, 17, prefers dancing to studying. His father, a stern dean of men at Stafford College, however, cuts off Alex's allowance when he fails one of his classes. But when Penny Palmer, a glamorous movie star, comes to town for their spring dance, Alex decides he must go-even against his father's wishes. So he plans to attend the ball secretly, borrowing an old suit of his father's and little sister's Lone Ranger Mask. The Masked Marvel is the hit of the ball, and Penny dances with no one else. But on the stroke of midnight, as he hurries from the ball room in order to get home before his father, he catches his pants on a nail and leaves a small piece behind, which Penny retrieves. Deciding this Masked Marvel must be her dancing partner in her next movie, Penny sends her manager out to locate him. Arriving at the Norris household, things take an unexpected turn, because everything indicates that Dean Norris is the Masked Marvel! He becomes the talk of the town, the object of every co-ed's affection; and Stafford College is put on the map. But to Dean Norris this is extremely embarrassing, especially when Penny sidles up to him familiarly in the presence of his wife. Alex, determined to get his father out of this, calls up the president of the college to confess, but the president is fearful that he may lose the popular Dean Norris to Hollywood. Alex suddenly loses his timidity and his fear of Father. He strikes a hard bargain with the president, resulting in a happy ending for all; and even Dean Norris is so happy he breaks his reserve to join in a swing finale

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Apart from very popular and world touring productions, many performing arts events are largely forgotten about in a matter of months. Traces may remain in various collections, but few collecting agencies, such as libraries, catalogue each flyer or program individually. Hence, unless one knows that an event took place at a certain time in a certain place, tracking down such an event as part of a research project is often a matter of chance. Where research needs to be carried out on high profile and well-documented productions only, this is not a problem. However, both the historian and the analyst will attest that the cultural, political, or sociological context in which a performing arts event takes place is also of major importance, as are the other events that took place in close proximity, either in place or time. A good overview of such productions provides us with a 'social document' that can greatly enhance cultural studies in ways that extend far beyond the narrow confines of theatre history. For instance, data such as this can be used to monitor the health of communities, particularly when used in association with data obtained from other social science disciplines. When one researches a particular playwright one might want to know about all the productions of plays by that author; if one wants to investigate what choices a particular audience had over a period of history and compare this to, say, an ethnic breakdown of the population, one would need to know broadly all the events that took place during that time. If one wanted to do a statistical analysis on the shift in popularity of a genre over one or more generations, it is important to have knowledge of most of the relevant major and minor performance events that took place. In this context, issues of aesthetic quality and the professionalism of a production - which will of course have an impact on such studies - are not the determining factors when deciding to include or exclude events, since all events are the raw material for such research.