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The play's most bizarre incident, in which the Shaws' airplane is forced to land at Malibu and they hitch a ride into L.A. with a UCLA student, actually happened. So did other elements of [Mark Saltzman]'s plot, including [Marion Davies]' and [William Randolph Hearst]'s campaign to obtain the movie rights to [George Bernard Shaw]'s \"Pygmalion\" and Davies' unawareness that Shaw was a vegetarian when she planned a menu. Generally, however, Saltzman draws on a wealth of motivations and incidents that feel plausible, in contrast to his \"The Tin Pan Alley Rag\" (Pasadena Playhouse, 1997), in which the play's central conceit, a meeting between Irving Berlin and Scott Joplin, felt contrived. Here, the story is framed by a flashback told by Mrs. Shaw from six years later, shortly after Shaw won an Oscar for \"Pygmalion.\" Nicolas Coster's Shaw looks \"like Santa Claus in a famine,\" to quote a Saltzman line. Coster handles Shaw's eagle-eyed retorts and allusions to self-grandeur with dry timing. Mala Powers is equally adroit as the independent-thinking Charlotte. But one brief scene between the couple, in which he sings an Irish song, feels like an unnecessary attempt to soften their relationship.

In one scene, [Mark Saltzman] imagined [George Bernard Shaw] tweaking [Louis B. Mayer] with the suggestion that MGM film \"Saint Joan\" with Shirley Temple as Joan of Arc. Then Nicolas Coster, who plays Shaw, brought in a book of interviews by his journalist father, Ian Coster. There was Shaw wisecracking in real life about Temple being ripe to play the Egyptian queen in his \"Caesar and Cleopatra.\" Saltzman's account of Shaw's visit to MGM provides a jumping-off point for much satire about the movie business, all of it as germane to 2003 as to 1933. Shaw -- dryly -- and [John Barrymore] -- drunkenly -- expatiate on how Hollywood lucre corrupts artistry. Jokes about the lowly lot of the screenwriter abound. But Saltzman, whose own screenwriting credits include the animal story \"The Adventures of Milo and Otis\" (1986) and \"Mrs. Santa Claus,\" a 1996 TV musical starring Angela Lansbury, keeps the commentary light and resists any temptation to portray media potentates Mayer and [William Randolph Hearst] as heavies. \"I have no ax to grind,\" he says. \"I just kept my head down and wrote what I found.\" Saltzman must proceed without Arnold Glassman, his domestic partner of 23 years, who died of cancer on Feb. 19. Glassman, 56, was a documentary filmmaker whose credits include co-directing \"Visions of Light,\" a lauded 1992 account of the development of cinematography. Saltzman says Glassman was an astute guide while he was researching \"Mr. Shaw Goes to Hollywood,\" his first nonmusical play. \"I knew he was going to love this play, and I made it a gift to him.\"

CHAPTER I (pg. 106-113). CHAPTER II. CANADA (pg. 114-126). CHAPTER III. AUSTRALASIA (pg. 126-151). CHAPTER IV. SOUTH AFRICA (pg. 151-163). THE UNION OF SOUTH AFRICA [by G. V. Taylor] (pg. 151-160). CHAPTER V (pg. 163-174).

Tension relaxed (pg. 1-2). official optimism and exhortations (pg. 2-4). Parliamentary debates (pg. 4-9). the Berlin airlift (pg. 9). the Iron Curtain countries (pg. 9-11). debate on Defence (pg. 11-12). European Assembly (pg. 12). Atlantic Pact (pg. 12-13). Palestine truce (pg. 13-14). Commonwealth affairs (pg. 14-15). foreign trade (pg. 15-17). Mr. Mayhew at Lake Success (pg. 17-18). industrial relations (pg. 18). the Budget (pg. 18-24).

Navy and Army Estimates (pg. 73-78). The Budget (pg. 78). Effects of the War on the Moneymarket and on Trade (pg. 78-80). Minor Acts of the Session (pg. 80-82). The Greek Massacres (pg. 82-91). The Civil Service thrown open (pg. 91-92). Surrender of the Military Prerogative of the Crown (pg. 92).