Lewis Beach

“ DICK. Woman!
MARY [almost with a cry—thinking that DICK has seen the NORTHERNER] . Yes.
DICK. Have you got an apple handy? I'm starved. [MARY moves to the cupboard to get the apple for DICK. The SERGEANT and THADDEUS come downstairs. The SERGEANT, seeing that MARY is not where he left her, looks about quickly and discovers her at the cupboard.]
SERGEANT. Here, what'd I tell you I'd do if you moved from that chair?
MARY [with great fear] . Oh, I didn't—I only—he wanted——
DICK. It's all right, Sergeant. I asked her to get me an apple. ”

“ When that time comes—if it does come—one of the results will undoubtedly be a more flexible theatre, the growth of repertoire companies, the expansion of the activities of popular players. In a more flexible theatre, where repertoire is a rule rather than a strange and dreaded experiment, and where actors pride themselves on versatility and the public honors them for it, the one-act play will again have its place, but not then as a curtain raiser or afterpiece, to pad out an evening or "send the suburbs home happy," but as a serious branch of dramatic art. ”

“ They have so completely vanished, in fact, that theatre goers have lost not only the habit of expecting them, but the imaginative flexibility to enjoy them. If you should play "Romeo and Juliet" to-day and then follow it with a one-act farce, your audience would be uncomfortably bewildered. They would be unable to make the necessary adjustment of mood. If you focus your vision rapidly from a near to a far object, you probably suffer from eye-strain. Similarly, the jump from one play to the other in the theatre gives a modern audience mind- or mood-strain. It is largely a matter of habit. ”

“ The fathers and mothers of the present generation can remember when William Warren, at the Boston Museum, would turn of an evening from such a part as his deep-hearted Sir Peter Teazle to the loud and empty vociferations of a Morton farce. The entertainment in those days would hardly have been considered complete without the "afterpiece," or, as time went on, sometimes the "curtain raiser." It is by no means certain that theatre seats were always cheaper than to-day. ”

“ TSUMU. They are changing the guards at the gates of the palace. It's almost time for your bath. [She begins scraping the massage ointment back into the box.]
HELENA. You're as careful with that ointment as Moo Moo is with me.
TSUMU. Precious things need precious guarding.
HELENA. It's very short-sighted on Moo Moo's part to send everybody to the galleys who dares lift a head when I pass by—and all those nice-looking soldiers! Why—the only men I ever see besides Moo Moo are Analytikos and a lot of useless eunuchs. ”

“ Without enthusiasm the Washington Square Players could never have come into existence, nor survived. From the first, when we had barely enough money for rent and none for the costumes and properties we borrowed and disguised, ours was an enthusiasm strong in quantity as well as quality. The theatre is a peculiar art. Both in production and reception it requires numbers and an enduring faith. ”

“ If Maude Adams, for instance, should follow "The Little Minister" with a roaring farce, or Sothern should turn on the same evening from "If I Were King" to "Box and Cox," we should feel that some artistic unity had been rudely violated; nor am I at all sure, being a product of this generation, but that we should be quite right.
Matters standing as they do, then, it seems to me that the talk we frequently hear about reviving "the art of the one-act play" by restoring the curtain raisers or afterpieces to the programs of our theatres is reactionary and futile. ”

“ But the one-act play, nonetheless, has an obvious right to existence, as much as the short story, and there are plentiful proofs that it can be as terse, vivid, and significant. Most novelists don't tack on a short story at the end of their books for full measure, but issue their contes either in collections or in the pages of the magazines. What similar chances are there, or can there be, for the one-act play, the dramatic short story?
An obvious chance is offered by vaudeville. ”

“ The reason for this choice was not entirely a devotion to the art of the one-act play. When players are inexperienced, it is far easier to present a group of plays of one act than it is to sustain a single set of characters for an entire evening. The action moves more rapidly, the tale is told before the monotony of the actors becomes too apparent. ”

“ We were, and are, a collection of many individuals—actors, authors, artists, and art-lovers—all fired with the sincere desire to give to playgoers something they had not been able previously to find on the American stage. And our desire has been strong enough to face and fight, and to continue to face and fight, the ever-growing, ever-changing problems of finance, art, and human inter-relations, which are the inescapable factors of the theatre. ”

“ ANALYTIKOS. You should not blame the Gods for a lack of will.
MENELAUS [shouting] . Will! Heaven knows I do not lack the will to rid myself of this painted puppet, but where is the instrument ready to my hand?
[At this moment a SHEPHERD of Apollonian beauty leaps across the rail of the balcony and bounds into the room. MENELAUS and ANALYTIKOS start back in amazement.] ”

“ When the average person pays money for his amusements, he is little inclined to be pleased with something which doesn't amuse him: and what amuses him, nine times out of ten, is what has amused him. That is why changes in the theatre are relatively slow, and customs long prevail, even till it seems they may corrupt the theatrical world.
For many generations in our playhouse it was the custom to follow the long play of the evening with an "afterpiece," generally in one act, but always brief, and almost always gay, if not farcical. ”

“ UNA. Then she—Naomi—has done everything unusual that I wanted to do, before I did?
GEORGE. Sure. You can't be unusual to-day. Too much brains been in the world before.
UNA. How is it I never heard this story, if her father's so well known?
GEORGE. D'you think your father's the only one can keep things out of the papers?
UNA [going over and weeping on her father's shoulder] . Oh! And I wanted to be unique.
BRAITHEWAITE [patting her] . There, there, dear. [To GEORGE.] You'd better go, now, Coxey.
GEORGE. And my job? ”

“ The average "playlet"—atrocious word—in the variety theatres is a dreadful thing, crude, obvious, often sensational or sentimental, usually very badly acted at least in the minor recircles, and still more a frank padding, a thing of the footlights, than the afterpiece of our parents. It has been frequently said by those optimists who are forever discovering the birth of the arts in popular amusements that vaudeville audiences will appreciate and applaud the best. ”

“ Although somewhat inconvenienced and preoccupied with the novelty of his surroundings and his situation, he remains, in the main, in excellent self-possession, an occasional twinkle in his eye showing that he is even quietly alive to a certain humor in the adventure. Above all, his attitude is that rare one, which we like to feel typical of American youth, of facing an unusual situation firmly, and seeing and grasping its possibilities quickly. ”

“ As our experimental theatres increase in number—and they are increasing—it will probably play its part, and perhaps no insignificant a part, in the development of a national drama through the development of a local drama and the cultivation of a taste for self-expression in various communities. It is only when these experimental theatres are sufficient in number, and the amateur spirit has been sufficiently aroused in various communities, that the commercial theatre of tradition will be seriously influenced. ”

“ The one-act play in our country to-day is an ally of the amateurs and the innovators. For that very reason, perhaps, it is the form which will bear the most watching for signs of imagination and for flashes of insight and interpretative significance. ”

“ If the traditional theatre, then, is now in a rut which affords no room for the one-act play, and if vaudeville is an empty cradle for this branch of dramatic art, where shall we turn? The one-act play to-day has found refuge and encouragement in the experimental theatres, and among the amateurs. The best one-act plays so far written in English have come out of Ireland, chiefly from the Abbey Theatre in Dublin where they were first acted by a company recruited from amateur players. ”

“ The future may write us fools again, or something better—the conclusion being that the difference between the fool and the pioneer lies in the outcome; the secret, that the motive power behind both is enthusiasm. ”

“ MARGARET [coming down left of table] . I've thought of you so often, HARRIET; and to come back and find you living in New York.
HARRIET [coming down right of table] . Mr. Goodrich has many interests here.
MAGGIE [to MARGARET] . Flatter her.
MARGARET. I know, Mr. Goodrich is so successful.
HETTY [to HARRIET] . Tell her we're rich.
HARRIET [to MARGARET] . Won't you sit down?
MARGARET [takes a chair] . What a beautiful cabinet!*
* What beautiful lamps! (In vaudeville production.)
HARRIET. Do you like it? I'm afraid Charles paid an extravagant price. ”

“ When the Washington Square Players, for the most part amateurs of the theatre, began their experiment in the spring of 1915, they began with a bill of one-act plays. With but two exceptions, all their succeeding productions have been composed of one-act plays, usually in groups of four, the last one for the evening sometimes being a pantomime. (It should be noted that a program of four one-act plays has the unity of a collection. A short play following a long one is overbalanced and the program seems to most of us awry.) ”

“ The rigid conventionality of the theatre has been frequently remarked upon. Why the world should ever fear a radical, indeed, is hard to see, since he has against him the whole dead weight of society; but least of all need the radical be dreaded in the theatre. ”

“ A door on the right leads to the KING'S library, one on the left to the apartments of the QUEEN. Back right is the main entrance leading to the palace. Next this, running the full length of the wall, is a window with a platform, built out over the main court. Beyond is a view of hills bright with lemon groves, and in the far distance shimmers the sea. On the wall near the QUEEN'S room hangs an old shield rusty with disuse. A bust of Zeus stands on a pedestal against the right wall. ”

“ We believed in the democracy of the drama. But we understand democracy to mean, not the gratification of the taste of the many to the exclusion of that of the few, but the satisfaction of all tastes. We had no quarrel with the stage as it was, save that there wasn't enough of it. ”

“ I do not believe you will ever have any improvement in the human race until you greatly widen the area of possible sexual selection; until you make it as wide as the numbers of the community make it. Just consider what occurs at the present time. ”

“ Some of them are decently entombed in the catacombs of Lacy's British Drama, or still available for amateurs in French's library. Did you ever try to read one? Of course, there was "Box and Cox," but it is doubtful if there will be any great celebration at the tercentenary of Morton's death. For the most part, those ancient afterpieces were frankly padding, conventional farces to fill up the bill and send the audiences home happy. To the real art of the drama or the development of the one-act play as a form of serious literary expression, they made precious little contribution. ”

“ MENELAUS. I never allow religion to interfere with life. Go call the victim and see that he be left alone with the Queen. [MENELAUS exits and ANALYTIKOS goes over to the door of the library and summons PARIS, who enters clad in a gorgeous robe.] ”

“ Puts the lantern on the table before the cubby-hole. Drags herself up the stairs, pausing a moment on the top step for breath before she disappears from sight. There is a silence. Then the door back is opened a trifle and a man's hand is seen. Cautiously the door is opened wide, and a young NORTHERN SOLDIER is silhouetted on the threshold. He wears a dirty uniform and has a bloody bandage tied about his head. He is wounded, sick, and exhausted. He stands at the door a moment, listening intently; then hastily crosses to the centre table looking for food. ”

“ Because such organizations as the Abbey Theatre have demonstrated the value of the one-act play in portraying local life, in stimulating a local stage literature; because such organizations in America as the Washington Square Players have demonstrated the superior value of the one-act play as a weapon with which to win recognition and build up the histrionic capacity to tackle longer works ”

“ No man ever really understands a woman. There are terrible depths to my nature. I had a long talk with Dr. Aesculapius only last week, and he told me I'm too introspective. It's the curse of us emotional women. ”

“ The emphasis of our interest has been placed on the American playwright, because we feel that no American theatre can be really successful unless it develops a native drama to present and interpret those emotions, ideas, characters, and conditions with which we, as Americans, are primarily concerned. ”