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In time, America adopted the problem play, of older inspiration than Ibsen but no doubt promoted by his example as well as by that of later playwrights across the Atlantic.

The man and woman with a muckrake (Lincoln Steffens, Ida Tarbell) were at work in the nation and some of the sweepings fell on the stage.

Theodore Roosevelt was wielding his big stick and its echoes reached the theatre. {Turning to the others, be- wilderment seizing him again.) Say, youse guys.

Our perilously contracted Broadway theatre midway in the century can look back upon the period before 1917 with undisguised envy as one of expansion, of numerous playhouses later to be surrendered to motion picture exhibitors,* of many more plays per season than we have today, of productions costing a fraction of what they must cost today.

This was also the heyday of the touring company which brought theatre to the rest of the nation in a continuous stream, and the years 1900 to 1904 alone saw 308 plays on tour as compared with the insignificant dribble squeezed out of Broadway in the nineteen forties.

Nevertheless, the twenties must still look like bonanza years to the forties when we realize that the resurgent Broadway of 1946-47 had eighty-se\»en productions as against three hundred and two in 1927-28.

The recording angel will lift an eyebrow at the performance of the c&ttuty before 1917 only if he sets quality above quantity.

Over five thousand professional theatres flourished on the American scene as against about two hundred and thirty in 1946, and this small number included opera houses.

In the glorious twenties, as a matter of fact, the process of contraction had already set m as a result of costlier railroad transportation and of growing competition from the film industry.

Therf r Rr^-iuctioris in Nevb York Citiv o present book and then turn to i twen Best Plays of the Modern American Thee tre (1929-1939) and Best Play l of the Modern American Theatre: Secoik Series (1939-1946).

The sanguine disposition of the business man, so often deplored as “rotarianism” and the go-getting spirit, insinuated itself into the fledglings of the theatre more than they would have cared to admit. — not dat kind of stuff — no guy and no skoit neither!

Realism of one sort or an- other is exemplified by such selections, among others, as Desire Under the Elms, Wjb i'^Price Glory? {With his old confident bravado.) I’ll show her I’m better’n her, if she on’y knew it.

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