Evening star., 1935-02-17

the stage, for 1.-THE Green Pastures" is winding
its way through the one-night stands in Dixie
for the celebration Of its 5th birthday on
Broadway, where startled populace awakened
one morning in 1880 to find a 66-year-old
Negro and his dusky troupe sitting high in
the laps of the Thespian gods
Because this unique play about the plantation
darkey and his amusing ideas about heaven
and the old Bible stories long ago transcribed
the limits Of the ordinary smash hit" its
birthday on February 26 creates more than
passing interest in the realm Of the footlights.
THE Green Pastures" is the ben Hur" Of
the present-day stage. One New York critic
called it 1.-The divine comedy in blackface."
More Americans and Canadians have seen
"The Green Pastures" than have seen any
other play since "Abie's Irish Rose" Follow
ing its original New York rum which lasted a
year and half 1.-THE Green Pastures" began
. series of road tours that have taken it before
more than 100000 people. Its record is the
more remarkable considering that its achieve
ments have been realized during five Of the
bleakest years in theater annals.
No other play within the last two decades
has been able to retain 90 per cent Of its
original New York company while winning the
plaudits of more than 200 cities.
\ AOST notable Of numerous records broken
iVi by this theatrical institution is that Of its
aged star, Richard B. Harrison, who, despite
his 70 years, has never missed q performance
In all the history Of the play. Recently he
passed the 1900 mark.
Born Of fugitive slave parents who had set
tied in London, Ontario, Harrison's life story
reads like q page torn from the miracles of
the Arabian Nights. Yet, upon closer OBJ
servation, it becomes . record Of q man who
new the flag Of courage in the face Of adversely
and climbed from newsboy, bellhop, waiter,
railroad worker, teacher and platform reader
to his present position as the outstanding Negro
actor Of his day.
Prior to his debut In 'The Green Pastures"
Harrison never had set foot on the legitimate
stage. Upon reading the manuscript of the
play he definitely was opposed to accepting
the role Of "de Lawd." Fearing it was sac
rilegious, he consulted friend, the late Bishop
Shipman Of New York, who assured him that
this was the chance Of lifetime.
Well might any man have been cautious
about that part Of "de Lawd," for the specta-
Gle Of Negro God on the stage in the frock
coat Of the actor offered all manner of possi-
biities. Fearing unfavorable church reaction,
the Theater Guild had turned down Marc Con-
nelly when he offered 1t, soon after the play
was completed. Indeed, its author carried
THE Green Pastures" to nearly every promi-
nent drama producer in New York. until he
finally found, in Rowland Stebbins, newcomer
TO the producing field, man willing to gamble
with him on what they believed was an idea
new to the world Of the theater.
Connolly, who had earlier than this collab-
GRATED with George Kaufman in q number of
hits, based 'The Green Pastures" on Roark
Bradford's book, "Op Man Adam an His
Chillun" Bradford, who had grown up with
Negroes on his fathers plantation near Shreve-
poFt pictured them graphically in his Southern