_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.
Gowans and Gray, Glasgow.