Women are increasingly prominent in this recent activity and in such hands as those of Rachel Crothers, Ann Flexner, Marguerite Merrington, Margaret Mayo and Eleanor Gates our social life is likely to be exploited in a way to hint at its problems, and truthfully and amusingly set forth its types.
Moody, though he wrote his stage plays in prose, was essentially the poet in viewpoint and imagination. A poet too, despite the fact that more than half his work is in prose, is Percy Mackaye, the son of a distinguished earlier playwright and theater reformer, author of Hazel Kirke and Paul Kauvar. Mr. Mackaye's prose comedy Mater, high comedy in the best sense, and his satiric burlesque, Anti-Matrimony, together with the thoughtful drama Tomorrow, which seeks to incorporate the new conception of eugenics in a vital story of the day, are good examples of one aspect of his work; and Jeanne d'Arc, Sapho and Phaon, verse plays, and the romantic spectacle play, A Thousand Years Ago, illustrate his poetic endeavor. Taking a hint from a short story by Hawthorne, he has written in The Scarecrow one of the strongest and noblest serious dramas yet wrought by an American. He has also done much for the pageant and outdoor masque, as his The Canterbury Pilgrims, Sanctuary and St. Louis, A Civic Masque, presented in May of 1914 on an heroic scale in that city, testify. A poet, whether in lyric or dramatic expression, is Josephine Preston Peabody. Her lovely reshaping of the familiar legend known best in the hands of Browning, The Piper, took the prize at the Stratford on Avon spring Shakespeare festival some years ago, and has been successful since both in England and America. Her other dramatic writing has not as yet met so well the stage demands, but is conspicuous for charm and ideality.
In the imaginative field of romance, poetry and allegory we may also place the Americanized Englishman, Charles Rann Kennedy, who has put the touch of the poet and prophet upon homely modern material. His beautiful morality play, The Servant in the House, secured his reputation and later plays from The Winter Feast to The Idol Breaker, inclusive of several shorter pieces, the one act form being definitely practiced by this author, have been interesting work, skillful of technic and surcharged with social sympathy and significance. Edward Knoblauch, the author of The Faun, of Milestones in collaboration with Mr. Bennett, and of the fantastic oriental divertissement, Kismet; and Austin Strong, who wrote The Toymaker of Nuremberg, are among the younger dramatists from whom much may yet be expected.
In this enumeration, all too scant to do justice to newer drama in the United States, especially in the field of realistic satire and humorous perception of the large-scaled clashes of our social life, it must be understood that I perforce omit to mention fully two score able and earnest young workers who are showing a most creditable desire to depict American conditions and have learned, or are rapidly learning, the use of their stage tools. The purpose here is to name enough of personal accomplishment to buttress the claim that a promising school has arisen on the native soil with aims and methods similar to those abroad.
And all this work, English or American, shows certain ear-marks to bind it together and declare it of our day in comparison with the past. What are these distinctive features?
On the side of technic, a greater and greater insistence on telling the story dramatically, with more of truth, to the exclusion of all that is non-dramatic, although preserved in the conventions of the theater for perhaps centuries; the elimination of subplot and of subsidiary characters which were of old deemed necessary for purposes of exposition; the avoidance of the prologue and such ancient and useful devices as the aside and the soliloquy; and such simplification of form that the typical play shall reduce itself most likely to three acts, and is almost always less than five; a play that often has but one scene where the action is compressed within the time limits of a few hours, or, at the most, a day or two. All this is the outcome of the influence of Ibsen with its subtlety, expository methods and its intenser psychology. In word, dress, action and scene, too, this modern type of drama approximates closer to life; and inclines to minimize scenery save as congruous background, thus implying a distinct rebellion from the stupidly literal scenic envisagement for which the influence of a Belasco is responsible. The new technic also has, in its seeking for an effect of verisimilitude, adopted the naturalistic key of life in its acting values and has built small theaters better adapted to this quieter, more penetrating presentation.
In regard to subject matter, and the author's attitude to his work, a marked tendency may be seen to emphasize personality in the character drawing, to make it of central interest (contrasted with plot) and a bold attempt to present it in the more minute variations of motive and act rather than in those more obvious reactions to life which have hitherto characterized stage treatment; and equally noticeable if not the dominant note of this latter-day drama, has been the social sympathy expressed in it and making it fairly resonant with kindly human values: the author's desire to see justice done to the under-dog in the social struggle; to extend a fraternal hand to the derelicts of the earth, to understand the poor and strive to help those who are weak or lost; all the underlings and incompetents and ill-doers of earth find their explainers and defenders in these writers. This is the note which sounds in the fraternalism of Kennedy's The Servant in the House, the arraignment of society in Walter's The Easiest Way and Paterson's Rebellion, the contrast of the ideals of east and west in Moody's The Great Divide, and the democratic fellowship of Sheldon's Salvation Nell. It is the note abroad which gives meaning to Hauptmann's The Weavers, Galsworthy's Justice and Wedekind's The Awakening of Spring, different as they are from each other. It stands for a tolerant, even loving comprehension of the other fellow's case. There is in it a belief in the age, too, and in modern man; a faith in democracy and an aspiration to see established on the earth a social condition which will make democracy a fact, not merely a convenient political catch-word.
Some authors, in their obsession with truth on the stage, have too much neglected the fundamental demands of the theater and so sacrificed the crisp crescendo treatment of crisis in climax as to indulge in a tame, undramatic and bafflingly subtle manipulation of the story; a remark applicable, for example, to a writer like Granville Barker.
But the growth and gains in both countries, with America modestly second, are encouraging. In these modern hands the play has been simplified, deepened, made more truthful, more sympathetic; and is now being given the expressional form that means literature. The bad, the cheap, the flimsy are still being produced, of course, in plenty; so has it always been, so ever will be. But the drama that is worthy, skillful, refreshing in these different kinds—farce, comedy light, polite, or satiric; broad comedy or high, melodrama, tragedy, romance and morality—is now offered, steadily, generously, and it depends upon the theater-goer who has trained himself to know, to reject and accept rightly, to appreciate and so make secure the life of all drama that is worth preservation.
This survey of the English theater and the drama which has been produced in it from the beginning—a survey the brevity of which will not detract, it may be hoped, from its clearness, may serve to place our play-goer in a position the better to appreciate the present conditions; and to give him more respect for a form of literature which he turns to to-day for intelligent recreation, deeming it a helpfully stimulating form of art. From this vantage-point, he may now approach a consideration of the drama as an artistic problem. He will be readier than before, perhaps, to realize that the playwright, with this history behind him, is the creature of a long and important development, in a double sense: in his treatment of life, and in the manner of that treatment.