The Atlantic Book of Modern Plays 21 – Anonymous · Verses Across
Literature · Fantasy
The Atlantic Book of Modern Plays 21The Well-Remembered Voice
18
Literature · Fantasy
The Atlantic Book of Modern Plays 21
The Well-Remembered Voice
AnonymousEnglish
Ibid.
PETER PAN: A charming fairy drama of the baby from the Never-Never Land and of his make-believe play with his friends in the nursery.
Scribner's.
THE TWELVE-POUND LOOK: On the eve of achieving knighthood the hero suffers a startling disclosure which leads him to look suspiciously for the "twelve-pound look" in his lady's eyes.
In Half-Hours, Scribner's.
WHAT EVERY WOMAN KNOWS: As we behold the creation of John Shand's career by Maggie his wife, who lacks charm, and particularly as we observe her campaign against a woman fully possessed of charm, we want to learn "what every woman knows." The secret is enlightening.
Scribner's.
+Lewis Beach+
BROTHERS, A SARDONIC COMEDY: Two "poor whites" quarrel violently over a worthless inheritance, and then combine in arson to prevent their mother from getting it: a disquieting and searching study of depths of shiftlessness and passionate meanness.
In Fifty Contemporary One-Act Plays, edited by Frank Shay and Pierre S. Loving. Frank Shay.
THE CLOD: A powerful drama of the flare-up of a stolid and apparently unfeeling nature in the flame of the pity and horror of war.
In Washington Square Plays, Doubleday.
+Jacinto Benavente+
HIS WIDOW'S HUSBAND: An absurd comedy of the small gossip and rigid conventions in a Spanish provincial capital. (Translated by John Garrett Underhill.)
In Plays, First Series, Scribner's.
+Arnold Bennett+
A GOOD WOMAN: A farcical triangular plot with particularly good comic characters.
In Polite Farces, Doran.
THE STEPMOTHER: Satirical presentment of a lady novelist, her efficient secretary, and her stepson, not to mention the doctor downstairs; amusing studies in character.
Ibid.
THE GREAT ADVENTURE: Good dramatization of the astounding adventures of Priam Farll (from Buried Alive), who attends his own funeral in Westminster Abbey, marries a young and suitable widow with whom his late valet has corresponded through a matrimonial bureau, and meets other amazing situations.
Doran.
THE TITLE: A delightful comedy in which several people who have denounced the disgraceful awarding of English titles have a bad time of it with Mrs. Culver, who does not propose to let slip the opportunity of being called "My Lady." You can probably guess which side wins in the end.
Doran.
+Gordon Bottomley+
KING LEAR'S WIFE: An episode in King Lear's earlier years, which throws much imaginative light on Goneril's and Cordelia's later treatment of their father. Lear's wife herself, as we might have guessed, is a pathetic figure.
Constable, London; also in Georgian Poetry, 1913-15.
MIDSUMMER EVE: Several farm maidservants meet to see their future lovers' spirits on Midsummer Eve, but see only the "fetch" or double of one of them, foretelling her death.
In King Lear's Wife and Other Plays, Constable.
+Anna Hempstead Branch+
ROSE OF THE WIND: A fairy play of the dancing and allurement of bewitched slippers, and of other wonders.
Houghton Mifflin.
+Harold Brighouse+
THE DOORWAY: A sharp and cruel picture of unsheltered people on a freezing night in London.
Joseph Williams, London.
THE GAME: A cocksure and triumphant girl meets more than her match in an old peasant woman, the mother of the man she wants to marry.
In Three Lancashire Plays, Samuel French.
HOBSON'S CHOICE: In which the eldest daughter at Hobson's plays a winning game against her tyrannous father and superior-feeling sisters, using a quite excellent but disregarded piece.
Constable, London; Doubleday, New York.
MAID OF FRANCE: An effective play in which Joan of Arc lays aside her old hate for the English soldiers, whom she discovers on French soil again.
