New-York tribune., 1918-09-20
THE CAST
By Haywood Broun

No American playwright has written
such sparkling light comedy dialogue
as that of Roi Cooper Megrues "Tea
for Three" since "The New York Idea
was first produced here ever so many
years ago. The new play at the Max
inc Elliott crackles as if its author
has shufflcd his feet on a thicket carpet
in winter weather. For two acts every
thing he touches gives off a spark. The
play falls short of being definitely dis
tinguished drama only because the plot
trails off into trickery at the end.
We have always known that Megrue
was a skilful builder and he has proved
on several occasions that he could
write theatrically effectivt dialogue,
hut nothing before has been as deft
as this. For two acts it is all light
and dancing. After the curtain came
down we We're sorry that Megrue had
sc definite a leaning for theatrical con-
structlon 1t seemed a pity that he
had been engaged in furnishing a sur
prist finish. After all that was an anti
climax. Nothing which the author was
be half so surprising as the things
they said. There was ample suspense
merely in the talk of Megrues people.
We didn't care half so much how the
play came out as how any number Of
its lines would turn. Here were happy
endings in abundance
Perhaps there is no theatrical task
as difficult as good light comedy dia
logue. In the effort for wit there is
an ever present danger of epigram.
An unattached epigram is an awful
thing
1t may serve we'll enough to sell a
soup or shirt or cigarette, but it
has no business in the mouth of a
person in play unless it can be def
ntely associated with the character.
In other words, it must have the air
OF belonging to the person who spcaka
1T and not to the author. Of course
we VIII note an exception for Shaw.
Megrues dialogue is rarely epigram-
matte and consistently characterized
Moreover, 1T is smart. The people in
the Hatton plays ought to be appren-
tlced out to the characters of Megrue's
play IN order to learn the lesson of
combining wit and breeding. We
recommend twenty years, with little
off for good conduct
Good actors are needed for good talk.
Arthur Byron keeps up the momentum
Of Tea for Three and never loses a
point. He has not yet quite settled
into his Characterization. Now and
again he hammers a bit too hard.
Frederick Perry seemed to us the most
finished member of an excellent cast.
but Margaret Lawrence ran him a close
second with a thoroughly delightful
performance. The other two charac-
ho
William Postnance as the valet con-
tributes a good deal to the fun of one
of the best scenes.
"Tea for Three" concerns a wife,
her husband and another man. The
husband becomes unreasonably jealous
of the other man, who contrivcs. with
the aid of the wife, to teach him a
lesson A weakness of the plot lies in
the fact that the joke which is played
upon the husband seems to come close
to tragedy. 1t is true that all theatre
wise folk may feel tolerably sure that
everything will come out all right in
the play are deceived as to the real
situation. Their poignant and sincere
grief at the supposed death of the
other man cannot fail to communicate
itself to the audience. This mood is
not suitable to the spirit of the play.
1t loses effectiveness to marked de
gree, therefore,, in the last act.
Even if we were sure beyond a doubt
that this criticism were just, and
heaven knows We have no belief strong
enough to shout it very loud, we should
rot stress the point When a play
wright has furnished enough delightful
talk to SAVIOR dozen dramas he should
be duly hailed as bcnefactor. Speak
ing, therefore, on behalf of one man
who saw Tea for Three" last night, we
ask Mr.. Megrue to consider himself