New Volumes.
HAY FEVER. By Noel Coward
“Gay, bright and amusing ... an exhibition of youthful high spirits.”—“Stage.”
THREE PLAYS. By Noel Coward: (The Rat Trap, The Vortex and Fallen Angels). With the Author’s reply to his Critics.
“It is well that these plays should be published ... they catch the colour and movement of to-day with such surprising accuracy.”—“Morning Post.”
Note.—These three plays are also obtainable separately.
CONFLICT. By Miles Malleson
“Mr. Malleson’s writing is vital and interesting, his sense of the theatre is very effective.”—“Curtain.”
“Mr. Malleson has something of Toller’s gift for presenting in a moving and dramatic way the contrasts and conflicts of our civilisation.”—“New Leader.”
THIS WOMAN BUSINESS. By Ben W. Levy
“Although managers are always saying that they cannot find good plays, Ernest Benn seems to discover new ones on every bush. Here is another worthy addition to their series.... Mr. Levy is a man of wit and understanding and has the true creative touch.”—“Daily Telegraph.”
THE TRANSLATION OF NATHANIEL BENDERSNAP. By G. D. Gribble
“Frankly written for a select and sophisticated audience ... there is polish and wit in the dialogue.”—“Curtain.”
HIS MAJESTY’S PLEASURE. By Conal O’Riordan
“An example of how the romantic play should be written.”—“Observer.”
“Romance edged keenly by wit.”—“Manchester Guardian.”
THE MAN WITH A LOAD OF MISCHIEF. By Ashley Dukes. (4th Impression.)
“Brilliant comedy ... gaiety, spontaneity and a dignity too which is all too rarely found in high comedy.”—“New Age.”
ATONEMENT. By Edward Thompson
“Mr. Thompson is among the playwrights born.... Into this mould he can pour all his floods of thought and feeling and aspiration.”—“Times Literary Supplement.”
EXODUS. By H. F. Rubinstein & Halcott Glover. (2nd Impression).
“The action of the play is visible as you read ... the sound of human voices is audible throughout.”—John Freeman in the “London Mercury.”
THE CONQUERING HERO. By Allah Monkhouse. (3rd Impression.)
“I am often asked what I call a great play. This is one.”—James Agate.
MIDSUMMER MADNESS. By Clifford Bax
“Mr. Bax has done what the commedia dell’ arte did—told a cynical modern story through old figures.”—“Times Literary Supplement.”
WHAT’S WRONG WITH THE DRAMA? By H. F. Rubinstein
“Delightfully amusing ... exquisite fun.”—“English Review.”
THE FIFTH OF NOVEMBER. By Howard Peacey
“There is colour and eloquence in it....”—“Times Literary Supplement.”
THE DANCE OF LIFE. By Hermon Ould
“Delightful.”—“English Review.”
THE FANATICS. By Miles Malleson
“A play that an audience will think about and talk about.”—Lennox Robinson.
THE THREE BARROWS. By Charles McEvoy
“Strong dramatic scenes, would act well.”—E. A. Baughan.
FIRST BLOOD. By Allan Monkhouse
“Deals with a Savagely embittered industrial dispute, at once more natural and more subtle than Galsworthy’s ‘Strife.’”—Ivor Brown.
THE MASQUE OF VENICE. By G. D. Gribble
“Who is this Mr. Gribble who suddenly bursts upon us as a fully equipped playwright; master of his job and possessed of more wit and more reading than most living dramatists have, or at any rate use.”—“Times Literary Supplement.”
THE SCENE THAT WAS TO WRITE ITSELF. By G. D. Gribble
“Would repay good acting.”—“New Statesman.”
PETER AND PAUL. By Harold F. Rubinstein
“The hand of the born dramatist is very clear.”—“Times Literary Supplement.”
NOCTURNE IN PALERMO. By Clifford Bax
“A delightful miniature.”—“Daily Telegraph.”
THE RIGORDANS. By Edward Percy
“Strong, sombre, moving drama ... a play to read.”—“Manchester Guardian.”
KRISHNA KUMARI. By Edward Thompson
“A play about India and a very fine one.”—“Nation and Athenæum.”
THE VERGE. By Susan Glaspell. (2nd Impression.)
“Extraordinarily interesting, besides being very unusual. Fresh, curious, and dramatically alive.... Here there is revolt against the platitude, the convention, but the repudiation of life as it is goes far beyond the social rebellion ... it is an attempt to capture something beyond the reaches of our souls.”—“Manchester Guardian.”
“Few living dramatists have succeeded so well in amalgamating psychology with perfect stagecraft.”—“Westminster Gazette.”
INHERITORS. By Susan Glaspell
“This is a fine play ... one would not rank it below ‘An Enemy of the People,’ and for my own part I am inclined to think it ranks with ‘The Master Builder.’”—James Agate in the “Sunday Times.”
“There is no mistaking the power and insight of her characterisation ... the first act is a little epic of the pioneer days of America, beautifully written and deeply felt.”—“Daily Telegraph.”
BERNICE. By Susan Glaspell
“Remorselessly, every word striking home, this quiet tragedy works to an end.”—“The Weekly Westminster.”
“By very subtle touches Susan Glaspell builds up the character of Bernice, a woman who died before the play opens.”—E. A. Baughan in the “Daily News.”
MOSES. A Play, a Protest, and a Proposal. By Lawrence Langner
“Entertaining and effective ... always incisive and usually profound.”—“Manchester Guardian.”
THE SPRING. By George Cram Cook
“Is a work of arresting theme and highly imaginative workmanship.”—The late William Archer.
“A strange and arresting play on the psychic, mixing argument with emotion in an extraordinary manner.”—Kenneth MacGowan.
NEW PLAYS IN PREPARATION
THE FIREBRAND. By Edwin Justus Mayer
THE SPORT OF GODS. By John Cournos
FOUR ONE ACT PLAYS. Gwen John
OTHER PLAYS PUBLISHED BY ERNEST BENN LTD
BEGGAR ON HORSEBACK. By George S. Kaufman & Marc Connelly
“A quaint and rollicking ‘nightmare play.’”—“Referee.”
“This amusing satire ... is the fiercest satire on materialism we have ever read.”—“Daily Graphic.”
THE COLONNADE. By Stark Young
“Mr. Stark Young makes his effects with a beautiful simplicity and you have not to read far to perceive that ‘The Colonnade’ is a remarkable play. It comes to significant life in a scene, full of emotion, between father and son. There is a strong opposition of wills, and the difference between them repeats the difference that had separated the father from his wife.”—Allan Monkhouse in the “Manchester Guardian.”
THE MACHINE WRECKERS. By Ernst Toller. Translated by Ashley Dukes
“It has power and passion and judgment and pity.”—St. John Ervine in the “Observer.”
SHAKESPEARE. By H. F. Rubinstein & Clifford Bax
“Their Shakespeare is by far the most life-like, the most plausible, yet presented in drama—far excelling either Mr. Shaw’s or Mr. Frank Harris’s.”—“Weekly Westminster.”
DOCTOR KNOCK. By Jules Romains. Translated by Harley Granville-Barker
“Monsieur Romains has caught at the crest the modern tyranny of medicine ... it is a shrewd joke, a timely joke, and well told.”—“Times.”
“Mr. Granville Barker’s latest gift to the English theatre is an amazingly perfect version of Jules Romains’ clever satire: Dr. Knock.”—“Daily Telegraph.”