NOTABLE PLAYS

Dominion, Volume 29, Issue 256, 25 July 1936, Page 23

NOTABLE PLAYS

1935-6 Productions In Collected Form. “Famous Plays of 1935-3(1,” a volume of six full-length plays (London: Gollancz). Hitherto the “Famous Plays” series has been published once a year. The. latest volume just to hand gives us notable plays of .1935-3(1 after we have had the famous group for 1935. In a review of the previous volume doubt was expressed concerning (he justification of the use of (he word

“famous” in regard to several of (he plays. In the latest volume there is. in the foreword, something approaching an admission of that contention. This reads: "In view of the inclusion in a volume entitled Famous Plays of ‘Katie Hoche,’ a word of explanation ■seems?necessary. This is the eleventh ; volume of the uniform series, and one may fairly say that the general title of the series—Famous Plays—hits not been a misnomer. For all that the general necessity for retaining nils general title has sometimes embarrassed us, for we haje from time to time wished to include a play or so which, owing to circumstances, was not. famous, though it might well become so.” This apologia speaks for itself. The new series Includes “St. Helena,” by 11. Sheriff and Jeanne de Casalis; "Call it a Day,” by Dodie Smith; “After October,” by Rodney Ackland; “Awake and Sing,” by Clifford Odets, and “Katie Hoche," by Teresa Deevy. The three first-named plays are fairly sound and should be successful, but there is a doubt as to whether any ot them will become “famous” —i.e., known to fdme throughout the ages. There is no doubt about the others. “Awake and Sing.” by Odets, has been hailed as a classic in America. An opinion of this slice of sordid life in a Jewish family in the Bronx has already been expressed in “The Dominion.” Where its claim to be a classic comes in, be it in literary skill, char-acter-drawing. wit, irony, epigrammattic embroidery, inspirational uplilt. romance, or what you will, is difficult to detect. Personally, one is inclined to hold that. “Jayhawker”.is the best play that has come out of America in the" last year, a wonderfully ingenious, strong, virile, stirring play of the War of Independence by Upton Sinclair and his brother, which is more entitled to fame than the whole output, of Odets. To return to the new series, St. Helena.” which is the front-page play, is a really fascinating story of the domestic life of Napoleon during the term of incarceration on St. Helena. Napoleon is eternally fascinating. There is some magic in the name. Anything concerning this great little butcher, who conquered practically the whole of Europe without adding an acre to the landed uronorty of Mance, continues to intrigue. The episodes in the play are shorn ot all heroi .s. Napoleon is shown as a finnickj, < appointed little men. still vain, still hopeful of release, but gradually n = to seed, so to speak, under the deadening influence of the daily round at Longwood. Because .. guard has to accompany him if he rides 01 walkbeyond the boundaries of Longwood, he declines to venture, and so makes himself a closer prisoner than he med have been. Admiral Sir George Cockburn, his first jailer, and Goiiei al ‘ ’ Hudson Lowe, who succeeded in. fit, ure in the cast. Both are hatu Napoleon; then there are the memibc s of his own court nt Longwood, al o who become entangled in the, sma 1 est of domestic trifles, having lift. to think about. One can see the end approaching when Bonaparte insists on his people shifting the trees about Horn place to place in his garden .some of them apple trees m lull be un Ho is made to revile the ' Speaking to Marchand, he says What a bloodthirsty nation the English .tie. Look at the crimes! Hem.v SHI ma ries Seymour, the day after he has Am e Boleyn" executed 1 And then thei Bloody Mary. We’ve nothing * in French history.” That fiom the . rogant little bully who mowed down countless thousands to gratify a lust for insensate power. There is humour in the incident toward the end whei he wills 10.000 francs to the Frenchman who attempted to a l „ tb .l Duke of Wellington. St. Hellna, admirably written, is a sou,, f ’ one might add rather impossible i > amateurs without a heaven-born Napok“Call it a Day" is a spanking comedy, racily- written, and continuously interesting. It concerns 1 cidents in the life in the Hilton an i —father and mother, Aera. Ann. an Catherine, daughters, and Martin, son Yin a single day- How they make plans and do not carry them out, how each one's yearnings are encountered. how Vera ami Ann mt. the, chances, ami even how iathei and mother are tempted to stray i«n L strict paths of marital rectitude mate, up a delightfully racy comedy, which must play very well. As th . ls I,k ' with Owen Nares ami his bright sou as Hilton pure et tils, has been iinnin" in London for sonic months, that remark mav bo stating the obvious. •• After October” is another very .lolly comedy of domestic life, with a giddy arrav of people, who are seemim, y more interested in small talk within Hie purview of their own lives than of anything which happens outside. The Monkhams are a very .natural crowd, especially dear old Mum. "ho has been on the stage, and buisls on at unexpected moments in H’hishes “The Belle of New York.” lheil there Is Lou. a mediocre dancer who m arr a Frenchman, which the family consider “bong tong,” although he con tributes nothing to the larder. Clive Monkham writes a play, and incurs debts on the score of its anticipated success, which does not mature.. He Is greatlv bucked when he receives for (be picture rights. _ Still the Monkhams are a merry, happy-go-luckv bunch, in whom hope springs cteini . It was going to come alter Oetobci when the play ends. “Red Night” would probably_ have been a famous war play were it not for “Journey’s End” and “All Quiet on the Western Front.” It is a -sound piece of work on the old lines happiness disturbed by the outbreak of war; the departure, the trenches, the avvtul war scenes, with Hie horrors Piled on, and a painful ending. Really, have vve not had enough of this type of play. "Katie Roche” is an Irish play, the moral of which teaches the folly of youth marrying middle age. It has that semi-mystical veinlng in the sudden appearances of the sainted Reuben, who tramps Ireland on foot seeking those in trouble, and giving balm to the weary. He turns out to be Katie Roche’s father, and a person of high degree. Though Katie was born out of wedlock, this knowledge gives her somel'hing to boast about, when she is being gravely reprimanded by her staid husband. That youth will have its fling seems to be the arguI ment in “Katie Roche,” an excellent play.