New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-08-24
Author of 1.-THE House of
Glass" Throws Rocks
at Reviewers.
SECRETS IN PLOTS
SHOULD BE SACRED
Man Who Wrote "See Ny
Lawyer" Thinks Knowl-
edge Works Hardship.
BY HAYWOOD BROUN.

Max MARGIN, who wrote "See My
Lawyer" says that critics tell too much
in reviewing plays. Speaking of his
later product, Cheating Cheaters,"
MARGIN says: "My play depends largely
upon its surprise story for its success.
If the audience knows what is going to
happen it won't be half as interested IN
il as il otherwise would have been.
Therefore, when the local dramatic
critics told everybody who wasn't there
the story of the play in their reviews
the morning after the premiere, 1t may
have killed the enjoyment of some OF
the playgoers."
We agree with MARGIN. 1t is a nui-
sance to be obliged to report the plot
of new play. II the plot is good
short, hurried summary does it an in
Justice II il is subtle it becomes COM
monplace in the retelling. If it is
forceful it is quickly tanned in the de-
scription.
For instance:
Ring the bell, children; William
Shakespeare has hit the bulPs-eye
again. His new play, 'Othello,' was
night. It must be admitted that the
theme is somewhat unpleasant. The
play tells the story of a miscegenetic
marriage between a Moorish general
named Othello and an Italian girl called
Desdemona. The jealousy Of the Moor
is played upon by a man named lago to
such an extent that in the last act
Othello strangles his wife in bed.
"Some of the dialogue between lago
and 0thello is bit thick, and this IS
not the first time that Shakespeare has
offended in this respect. While the
play is not nearly so amusing as Inc
Tanning of the Shrew,' and less original
than Hamlet there is little reason to
doubt that it will run through the sea-
SON."
On the other hand, a poor play offers
difficulties as great as good one. Not
infrequently it is impossible TO ascer-
tain Just what play is all about IN
the one visit allowed to reviewers.
However, MARGIN crticises himself
as well as the critics. Reviews Of plays
are not so widely read that any con-
siderable portion of an audience learns
the plot of a play from such sources.
On the other hand, people who go TO
the theatre are eager TO tell their
friends what they have seen. The story
of "Cheating Cheaters" will pass about
by word of mouth, and when the play
is in the sixth or the seventh month OF
its run il is quite possible that ITS Ell
feet will be somewhat impaired by the
common knowledge of the plot. But
this is nobody's fault except the author;
"Cheating Cheaters" is neatly built and
an amusing piece of work, but after all
a trick is only trick, and not the
highest form of dramatic craftsman
ship.
MARGIN has other ideas about the
function of criticism. Continuing his
plant, the playwright is quoted as say
ing, IL can't see any reason why critics
need go into the plot when they re-
view a play. Recounting how the var
ious members of the cast did their
work and describing the general nat
ure of the play along with repor-
torial story of who were in the audi
enco is all right of course. but don't
YOU think that's far enough to go =
We think it is much too far. From
whence comes the demand for the
names of the first nighters? Just why
should pitiless publicity be pressed
upon James Buchanan Brady?
J. V. V. s. writes: "As far as |
know. His Bridal Night was written
and finished about six years ago. AS
this was before the Dolly sisters had
attained their present prominence the
idea that the play was written espe-
cially for them is false one"
II is true that "His Bridal Night
was originally written some six years
AGO nv Lawrence Rising, but it was
revised recently by Margaret Mayo.
who undoubtedly had the Dolly sisters
snecifcally in mind.