Write a notice of one of the plays now on the local stage.

II. Explanation

To keep its readers informed of the character of the plays being presented at local theaters is one of the functions of the newspaper. If the play is a classic, only the quality of the acting need be discussed. If it is new, the notice should also include a description of the play and of its merit. Fortunately, this can always be determined by one simple test—a test suggested by no less a critic than William Shakespeare: Does it hold the mirror up to nature? Does it give, in other words, an accurate picture of life? The stage, it may be added, always has been and is now infested by many so-called plays which are not plays at all, but mere conglomerations of more or less (usually less) moral and amusing jokes and antics. The events which some of them depict could occur neither on the earth, in the sky above the earth, nor in the waters underneath the earth. From others it would be impossible to cut out any character or scene without improving the whole. They fill the theater with people and the manager’s pocket-book with money, but they are not plays.

III. Models

I

The Melting Pot comes to New York with a Chicago indorsement and the authority lent by the name of Mr. Israel Zangwill, as author. Mr. Zangwill’s theme is that the United States is a crucible in which all the races and nationalities of the world are to be fused into one glorious people.

As a play The Melting Pot has the intellectual tone to be expected from Mr. Zangwill. It also has really poetic touches. In humor it is less successful. In dramatic construction it is faulty, as are so many of the contemporary plays which try to teach or preach something.

The play brings back to New York after a long absence that excellent actor, Mr. Walker Whiteside.—Metcalfe in Life (abbreviated).[7]

II

Of David Copperfield, Dickens’s favorite among his own works, there have been dramatizations almost innumerable. The latest, called the Highway of Life, by Louis N. Parker, author of Pomander Walk and Disraeli, has been done with extreme reverence for the text and with an elaborate scenic investiture that would have made glad the heart of the novelist, enamored as he was of the theater.

It was to have been the autumn offering at His Majesty’s in London, with Sir Herbert Tree doubling as Micawber and Dan’l Peggotty. The war caused a change of plans, so the first performance on any stage took place at Wallack’s in New York. Lennox Pawle, Mr. Parker’s son-in-law, realized a long-cherished ambition to step forth as Micawber. Fresh from his multimillionaire of The Money Makers, came Emmet Corrigan for Dan’l Peggotty. Betsey Trotwood fell to Eva Vincent. The Lieblers were especially happy in their selection of a Mrs. Micawber in the person of Maggie Holloway Fisher. She spent days digging out and fashioning the costume she wears, and no one ever murdered a song more successfully than she at David’s dinner-party. An astonishingly faithful imitation of her languishing airs is given by Philip Tonge, when, as Traddles, he reads Micawber’s letter. J. V. Bryant, the Copperfield, and Vernon Steele, the Steerforth, are both English. O. P. Heggie deserves more than a passing word of commendation for the things he refrains from doing as Uriah Heep. He is not forever going through that waterless washing of the hands.

There are ten different sets of scenery in The Highway of Life, all charming or effective as the case may be. For the background of Mr. Wickfield’s garden at Canterbury we have a glimpse of the famous cathedral, and from Betsey Trotwood’s domain we get a view of the chalk cliffs and downs at Dover. A happy conceit throws shadow pictures of the principal characters upon a sheet as they cross the stage just before the first curtain rises.—Matthew White, Jr., in Munsey’s (abbreviated).[8]

IV. Notes and Queries

  1. What is the subject of each paragraph in Model I?
  2. Explain the function of each sentence in Model I.
  3. Discuss the meaning and etymology of the following terms: Chicago indorsement; theme; crucible; fuse; contemporary.
  4. Who is Israel Zangwill?
  5. Tell the story of David Copperfield.
  6. Why does Matthew White not tell it?
  7. Discuss the uses of the apostrophe.
  8. Discuss the meaning and etymology of: dramatization; extreme; elaborate; investiture; novelist; enamored; theater; doubling; ambition; sets.
  9. What is the subject of each paragraph in Model II?
  10. Find at least two metaphors in the models.

V. Gathering Material

Material for this exercise may be secured in three places: