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Folk I ^acknowledged through Porgy ^Jfcacters, and social protest through he Lightning .
Balderston Lewis Beach Susan Glaspell Eugene O’Neill V Edna St. , and Street Scene, nk fantasy by Berkeley Square, poetic iism by Aria da Capo, and expres- li variously by u The Hairy Ape,” r on Horsehac\, and Machinal.
They also provide a cross-section of dra- matic writing during the years covered by the book.
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.
By the second decade of the century the American dramatist was catching up with Pillars of Society, if hardly going beyond Ibsen’s early, and still Scribe-addicted, skirmishes of the eighteen seventies.
Our perilously contracted Broadway theatre midway in the century can look back upon the period before 1917 with undisguised envy as one of expansion, of numerous playhouses later to be surrendered to motion picture exhibitors,* of many more plays per season than we have today, of productions costing a fraction of what they must cost today.
This was also the heyday of the touring company which brought theatre to the rest of the nation in a continuous stream, and the years 1900 to 1904 alone saw 308 plays on tour as compared with the insignificant dribble squeezed out of Broadway in the nineteen forties.
Perhaps Laura, the gentleman who keeps her, and the reporter who wants to marry her and bargains with his predecessor could not have been accepted by the public before being indurated to immorality by the Harry Thaw and other scandals that splashed the pages of the New .