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“in his next*play, Nigger: But ‘he was |

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to portray an indigenous American typé,

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AMERICAN PRAMS

* CONTINUED FROM PAGE 1 Fi



. Howard darker of Henrietta and The

Banker's Daughter, are litfle ‘better.
g—But No More
In the early years of. the twentieth cen-
tury there began a long line of 6o-called
promising poung men. ‘First of these
was Sheldon, a student at Harvard who
at nineteen wrote “Salvation Nell,” ‘a
rather feeble melodrama whose reimark-
able feature was that it wds taken di-

rectly from;'a contemporary bar-room.

A more honest attempt to get closer’ to
at least the externals of life was seen

more anxious to write effective melo-
drama than to face the’ problems »which
«wAfter attempting in Boss

Sheldon. produced eight or nine plays
which weré mere retrogression. He was
promising, but nd-more: In the same
category is Eugene Walter, who. made
one somewhat: gingerly effart to face a
definite problem, in The Easiest Way,
considered by him his worst play,
though really the most powerful. Along
with these authors was a group of pro-
fessional dramatists like Charles Klein,
author of The Lion and the Mouse,
Maggie Pepper and Gamblers. He had
very little to say and .said it extremely
well, in plays which are preserved chiefly
“Perhaps the
most promising of all was Clyde Fitch,
who, writing at a time when the stand-
ards were too’ easy, was not so good-as
he. would be if he were writing now,
Resentiiix fe chafge of eminacy
leveled” at his, smart-set comedies, Truth
and. The Climbers, he wrote The City,
full of. shocking. swear-words and real-
ism which would seem pale on a modern
stage. All these men, with a knowledge
of the theater and a stereotyped formula,
turned out plays which are intellectually
childish’ when compared with what was
being written by the poets and essayists
of the time. The theater was an_insti-
tution for the benefit of actors, not’ play-
wrights, moreover, and until very re-
cently, it was looked down on and
hounded by vthe authorities, who inher-
ited from the Puritans a virtuous horror
of the stage.

O’Neill hain on World.

With such a- theatrical background,
and with the most conventional antece-
dents, Eugene O'Neill suddenly byrst on
The son ot a barnstorming ‘matinee aor
he had _ been* brought up in various
church schools and had devoted most
of his twenties to living the life of what
is technically termed a bum. Recovering

_from_this in .a_sanitarium, he suddenly

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woke up to find himself writing plays

| he has sincerely




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Horizon ‘in “1916. His” first” “Tong, ;stic-
cessful play was Emperor Jones. "Noll
only does O'Neill usé his own experiences
as a high-class bum for purposes of . art,
but» he never repeats himself. Desire
Under. the, Elms, Anna Christie, The
Great God Brown and: The Strange Ji-
terlude, each -is. different from every
ether. , He writes out of his own bitter
experience without expectation of suc-
cess. or. regard for popular likes. and
prejudices, Having just writtelt-a play
in nme-acts whith takes: seven hours: to
perform, he is now planning. to write a
dramatization of the Book of Révela-
tions, and a-drama, in which the action
all takes” place inside the brain af one
man. And yet he is successful—because
devoted himself 4o. the
‘He is the. first

plays to our

service of the theater.
grown-up man. to give
stage. , ‘
* American Life Dramatized.
’ There ate about a:-dozen other play-
wrights who have grown up with O’Neill,
not in imitation of him, but in’a sort of
general Renaissance of the theater,
George Kelly, who was brought up in
the theater, has. so vividly portrayed
some - aspects of American life in The
Show-Of, and other plays, that he. is
actually moulding cu? own conception of
ourselves., When he tries to break into
society, as in Craig’s Wife, he fails, but
he ‘is swpreme in West Philadelphia,
where he belongs. Sidney. Howard on
the other hand, although he knows how
to behaye ata debutante ball, wrote al-
most his best play, They Knew What
They Wanted, about farmers, cife inter-
ests and excites: him; he can portray
‘human beings who are not afraid of
being so. id

Still harder. to classify ts Pip Barey,

who graduated from Harvard in 192%”

and whose’ first successful play was a
high-class. pot boiler... He seemed. to be
just another gentlemanly author. Then
he went to Europe to write and came
back proudly* with an unpopular play,
In a Garden, which, as-he prophesied,
was not a success, though it was an
honest and brilliant attempt to tell cer-

class of people. After doing his ‘best
to ruin the producers with White Wings
arid John, both beautiful failures, he
made a great hit with Paris Bound and
Cock.Robin. The success of these two
second-rate ‘plays gives him a chance
to. writé some more unpopular first-rate

Renaissance in All Arts.
Perhaps the most* remarkable of all is
Paul Green, a Carolina farmer” who is
now teachifig’ in’a university. The first
play he ever saw presented was one he
had_written, But.he had read six of
Shakespeare’s. Three years ago, know-



He was first discovered by- the Province-

ing nothing of stage technique, but only



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; - er
town players, whogprotluced Beseua: the tr that he should write what he knew about,

he wrote /

about a half civilized negro whd made.
a futile attempt to run, a school for the
people of his race.
by the Provincetown players with the
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extraordinary manifestations we could
account for much in our lives.
too near this movement to appraise it. LY
n | We can only realize that we are in the, $
midst of something huge which is going
on at, the present moment in our own
ceuntry, .a kind of Renaissance which is
perceptible in architecture, in painting, in

music, but

BRYN MAWR CLUB

CONTINUED FROM PAGE. 1

will

n Abraham’s Bosom, a play t¥




’ This ‘play, ut on








Green’s*next play,
we could account for these

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most of all in the drama.






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