New-York tribune., 1917-12-22
CHARACTT Rs
By ]. Alexander Pierce

Arthur GoodrlcnS play, yes or NO,
exhibits the most striking innovation
in technique since the production OF
"On Trial" II is virtually three plays
combined in one. The difficulties Of
making q clear exposition Of the sew
cral strands is obvious. but after the
first quarter Of an hour the obstacles
were surmounted and the spliced
drama gained consistently in momen-
tum. The fact has been established in
recent seasons that technical dexterity
is equal to gaining hearty appreciation
with the public. and all signs point ac-
cordingly TO the success OF new de-
parture.
Three heroines believe that life with
their welded mates lacks many OF the
ioys Of love or luxury which is their
rightful estate. The momentous ques-
tion which they must decide is whether
70 accent at their face value the plau-
sible promises Of admirers who are
versed in the art of pleasing. The
first story. embodied in the prologue
and epilogue, forms an enveloping ac-
ton, while the other two are interlaced
in the play.
Mrs. Nicholas Rankin is the, .dissat-
isfed wife of the prologue. Her aunt
and an intimate friend discover by the
simple expedient of eavesdropping that
she is about to elope with the ingrati-
ating Gerald Kent. They know Gerald
for a "professional" at this interesting
pastime, but refrain from rude remoh-
strance. preferring TO rely on the
force of parable. and recount the mov-
ing histories of two women OF tneir
acquaintance, the one rich and the
other poor, who had to make the same
decision.
When the curtain rises on the first
act the interiors of two homes are dls-
closed. The one is Margaret Nane' S,
uptown. and the other Minnie's down
town tenement. A few minutes are re-
ouired before the spectator loses q
certain sense of incongruity, but II the
fourth wall of room is dlspenslble ~
is logical TO assume that third may
also be eliminated, and this proves 10
be true. The want of any partition oe-
tween the two homes is soon forgotten.
The illusion is heightened by the use
Of the lights, which reveal iirst one
side of the stage and then the other'
The break in continuity with the
switch from this scene TO that IS Ior
rotten when interest has been aroused
in both sets of characters, and some
novel effects are attained by correla-
tion Of the two households. The same
doctor attends both families, and
Emma. who lives with her sister MIN
nie is employed as maid by Mrs.
Vane Tho scenes are still more close
" connected when Emma talks with
her suitor over the telephone, and
botb scenes are shown in the full light.
II is impossible not TO entertain a
somewhat warmer regard Tor the num-
bier household. Minnie's brother, lom'
is an engaging comedian, ana contracts
a foolish marriage with girl, who, he
discovers too late, could not have been
made respectable even By funeral
ceremony. Then there is Emma, an un-
commonly pretty girl, even for IAN
lily of the lower classes. here, 100 IL
spoken the delectable line, Don't KISS
your food, eat It,"
The other side of the stage IS plunged
in continuous gloom. Mrs. Nane Is
decidedly fractions wife, whose hus-
hand seems TO have trouble enough
With his bad heart and financial en-
barrassment without having her pref
erence for coxcomb thrust too in
sistently upon his consciousness. Mrs.
Names brother also, is an unpleasing
personage in the capacity OF a go-be.-.
twcen. II is Mrs. Vane who says Eyes"
and the woman in humber circum.
stances who repulses the advances Of
her lover.
There are parallel scenes Of sobbing
to end the first act, and Of throttling
70 afford a dramatic curtain for the
second. In the epilogue Mrs. Rankin
makes the decision that is inevitable
when the evidence is all in. The play
is well cast and, with a few trifiing ex-
ceptions, convincingly acted; or the
three leading women, Emile Pollnl had
the greatest opportunity. The fulnesS,
of the story is factor that should
add to the popular appeal of the play.