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They Inew What They Wanted Beggai on Horseback Craig’^Wife Broadway . Paris Bound The Road to Rome ‘"'he Second Man cturday’s Children * ^rgy . NOTE ON THE SELECTIONS The selections, as will be seen, repre- sent virtually every important playwright who made his impression before 1930. .- ST /ofti 0 * HONORAM - E V of w| djtannot s » pleas . Of course there aifc some gaps in the representation by play* in the scries, but anthologists’ apologies arc already too numerous and since eiplana- tions are tedious, the editor politdy fore- goes them. Combining with the panache of youth and with messianic intentions for the public in some psycho-chemical mixture, the “push” of the period gave birth to adventurous enterprises long enough to introduce new ideas and forms in staging and dramatic composition, to shake Broadway out of old ways and make it adopt new ones, and to set standards which stamped modernity upon our theatre. The story, which may be captioned “Genesis” in the annals of our stage, is a lusty one of playwrights and production groups springing up with rude strength or with bright-as-day cleverness, of battles fought in the name of self-liberation and art and frequently won on the fairy-tale field of commercial theatre. CONTENTS Litrodu^ion: The Happy Years, thb Advancing Theatre “The lij URY Ape” ... Skies were certainly not unclouded for the artists who found incentives for flight and scorn in the contentment of Main Street, which they were temperamentally incapable of sharing. Desire I^nder the Elms John Gassncr Eugene O’Neill Eugene O’Neill Laurence Stallings and Maxwell Anderson Sidney Jloward George S. And the one acknowl- edged genius of our theatre, O’Neill, glared balefully down on the scene of American pros- perity with tragic perturbation and refused to be comforted. Even Clyde Fitch, purveyor extraordinary of mild comedy of manners like The Climbers and The Truth, tried to heed his own complaint that “no one at present is getting the essence of his environment in thought, word, and deed” and contrived T he City, in which he showed the veneer of respectability covering a corrupt public career.

Sacre^ cows were discreetly marked for sacrifice, as when, in 1911, Charles Klein, who made a\ business of grinding out popular fare, touched upon malefactors of great wealth in The Lion and the Mouse and when Edward Sheldon took note of political corruption in The Boss .

Realism of one sort or an- other is exemplified by such selections, among others, as Desire Under the Elms, Wjb i'^Price Glory? {With his old confident bravado.) I’ll show her I’m better’n her, if she on’y knew it.

They also provide a cross-section of dra- matic writing during the years covered by the book.

Over five thousand professional theatres flourished on the American scene as against about two hundred and thirty in 1946, and this small number included opera houses.

In the glorious twenties, as a matter of fact, the process of contraction had already set m as a result of costlier railroad transportation and of growing competition from the film industry.

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David Belasco, who produced the play, also complied with naturalistic requirements, making the most of the sordidness of the fallen Laura’s furnished room, as well as doing his eye-filling best by her previous installation in a luxurious •hotel.

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