New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-01-12
By Haywood Broun

Newspaper dramatic critics are at
tackled unjustly on good many
grounds, but at least one charge sticks
There is no getting away from the fact
that new work does not receive its just
due. The dictum if it's by a good au-
thor it's good play is more than a
joke. OF course the man who writes
Tor newspaper has to make up his
mind in a hurry. He is conscious of
This haste and he lives in terror of
making himself ridiculous by undue en-
>husiasm over something which may
prove to be a flash in the pan. The
longer he keeps at his work the greater
is the tendency for his mind to become
divided into so many little pigeonholes
of past experience. If new play is
something like 8 drama he has seen
before he can find its pigeonhole and
give it a fair rating with no great de-
lay. But if the play is by new man
III n new manner, or even q departure
in method by we'll known author, the
poor critic can't find a pigeonhole into
which it will fit, and so he doesn't know
what to Go with it. Consequently, he is
inclined to cast it from him as a piece
of dramatic heresy which deserves no
consideration whatsoever.
1t is true enough that a play is not
necessarily good because it is new in
treatment or subject, but, on the other
hand, newness itself is virtue That
much is in its favor. Some other week
we hope to gather together few ex-
amples Of the lapses of distinguished
dramatic critics and others less known
but nearer home. 1t may suffice to
mention the fact that William Winter,
by far the most famous of American
newspaper critics of the drama, re-
garded "Cyrano" as stop-gap when it
appeared in the repertoire Of Mans
field. paid only the scantiest attention
to the first plays Of Bernard Shaw,
fought 1bsen with barrage Of invec-
tive. AID was displeased when David
belasco presented "The Easiest Way"
In later season at least two we'll
known critics said that "Peter Pan"
was utter rot and would die in week,
while two seasons ago the brilliant one
act plays Of Dunsany were in several
instances dismissed with a paragraph
or two
In the endless warfare which RACES
between playwrights and critics there
IS something to be said for the play
makers.
"Tillie," the little play at the Henry
Miller Theatre, is probably the only
example Of American genre comedy
which has been seen here this season.
1t Is not particularly searching p;ct-
ure OF the life Of an American sec A.,
but it does keep clear of theatrcaiitv
Tor the most part and is only slightly
brushed by sentimentality. 1t deserves
the attention of playgoers inasmuch as
1t 's the lone representative of the style
OF play which must pave the way for
important work in essentially American
drama. IL does make the ncedful rec
ignition Of the fact that there is an
America beyond the borders OF New
YORK City.
Bill Jones Of "Lightnin' is a genre
study much more complete than any
thing in "Tiilie." but he is displayed
against a background which is pure
theatre. even though it is generally
amusing
There is second factor which makes
"Tillic" worth seeing. Patricia Col
iinge does really exceptional work. It
IL not role which makes great de-
mands On depth or power Probably
Miss Co1linge doesn't possess those
qualities. but hardly any performance
this season has been so dcft and Sc
delicate. Miss ColIinge can actually
seem shy and definitely convey tender
negs. This is fresh laid acting and You
might travel miles and never meet it
again.
Curiouslx enough there arc moments
in which the little miEg 1T the Henry
Miller Theatre reminds the p1aygocr