By Richard Gordon
During this hilarious romantic comedy, Richard Gordon awakes one morning with a headache. It takes him it slow to achieve he's ill—after all, he's a physician! Dr. Pennyworth diagnoses jaundice and prescribes a spell in sanatorium. yet one of the bedpans and injections on Honesty ward, Richard falls in love—with his own Florence Nightingale. although, he quickly learns that he has a rival for her affections, and unwilling to lose his like to Dr. Hinyman, Richard units out to provoke!
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Extra info for Doctor in Love (Doctor Series, Book 4)
In Sweet 161). But after seeing one ‘‘circus-like’’ performance of the St. Louis Compass, Shepherd told Flicker, ‘‘You’ve turned it into entertainment. You’ve ruined my dream’’ (Coleman 220). The two men dissolved their partnership, and the St. Louis Compass disbanded after less than a year in operation. Flicker went on to found his own improv-comedy troupe, the Premise, which ﬂourished in New York from 1960 to 1963. Both Flicker and Shepherd made a stab at racial integration in improv- The First-Wave Paradigm 17 comedy in 1963.
People hate to leave, clamor for more, and the actors . . often keep it up for a couple of extra hours’’ (qtd. in Sweet xxv). Barbara Harris recalls, ‘‘If there is such a thing as altruism, then it was altruistic, with a kind of generosity of energy and spirit. . It wasn’t very practical. It wasn’t realistic. But it ﬁlled a need that made sense’’ (Coleman 113). At ﬁrst, the Compass was open to participation on stage by performers from a wide variety of backgrounds and occupations. Membership in the ﬁrst ad hoc company ﬂuctuated greatly, as Sills tended to cast ‘‘whoever show[ed] up’’ (Sweet interview).
First-wave improv-comedy’s virtual exclusion of African American performers is ironic, particularly in the 1960s, when the improvisational quality of black art, performance, and music (especially jazz) was imitated and ‘‘seized on by [white] avant-garde artists as a potent emblem of freedom’’ (Banes 156). In 1959, Sills teamed with commercial theatre producer Bernie Sahlins and actor-manager Howard Alk to create the Second City. No longer willing to be burdened with Shepherd’s Marxist notions and personal eccentricities, Sills was interested in creating marketable social and political satire.