Judge, 1916-09-30 · page 18 of 28
Judge — September 30, 1916 — page 18: what you’re looking at
What you’re looking at
This page presents a humorous dialogue between four theater-goers debating recent Broadway productions. The "Tired Business Man," "Critic," "Débutante," and "Suburbanite" discuss plays including *The Guilty Man*, *The Happy Ending*, and *Somebody's Luggage*. The satire mocks pretentious theater criticism and social posturing. The Débutante eagerly appropriates the Critic's sophisticated observations to impress her bridge-club friends, exposing superficial cultural consumption. The Suburbanite defends lowbrow farce against high-minded drama, while the Critic condescends throughout. The small illustration (appearing mid-text) likely depicts characters from one discussed play. The joke is that despite their disagreements, all parties claim to enjoy the evening—revealing hypocrisy about taste and the social performance of cultural refinement among early 20th-century theater audiences.
📄 Transcribed text from this page (OCR, searchable)
Machine-transcribed from the original scan — historical spelling and the odd misread are preserved.
B ET W EEN By CREE last night that I won't forget for a while— The Guilty Man’. I guess; but I never felt so—so—er ing that show. The trial scene w “The trial scene?” inquired the Suburbanite, with the least tinge of irony in his voice. “1 thought you were the man who abominated all trial scenes.” I do—generally.”’ replied the Tired Business Man the one in ‘The Guilty Man’ was so much better than of the others I’ve seen that f have to come around benefit.” The Critic nodded “G ves stid the Tired Business Man, “1 saw a play I've seen some thrillers in my time wobbly as I did after s¢ atcorker! “But any or its, “<The Guilty Man’,” said he. remarkable production. [| have seldom seen better acting than that furnished by Gareth Hughes, particularly in his love scenes. Irene Fenwick was splendid, of course; and Emily Ann Wellman surpassed herself.” The Débutante, who had been listening dreamily, inter- posed a word. “Did you see “The Happy Ending thought it was too sweet for anything!” “<The Happy Ending’ has lived up to its name,” said the Critic. “It has ended, and happily—for the theatre-goer It was a most hopeless affair, with only one redeeming feature -the score. That was composed by a real musician, and was admirably adapted to the scenes. “1 repeat.” said the Tired Business Man, “that ‘The Guilty Man’ is the best thing I’ve seen in a long while.” “L didn't: care so much for Man’,” said the Débutante think sex-dramas are stupid. the Washington Square I I thought their little one-act comedies — were fully clever, especially ‘Eugenically Speak- ing’. “Did [hear you say that sex-dramas were stupid?" asked the Critic in a mildly sarcastic tone. “If ‘Eugenically Speaking’ drama, [I don’t know anything about it. But I agree that the Washington Square Players are clever. ‘Their work is still a bit amateurish, but it is an improvement over last year. People who are interested in the progress of the she inquired. The Guilty “Anyway, I Who's seen rs? aw isn’t SeX- C drama here should sce them. They will learn that there are other dra sts than Shakespeare and George M. Cohan.” The Débutante giggled “That's awfully clever!” she enthused. “I’m going to sty that at our next bridge-club mecting—may 1?” The Critic looked a bit taken aback, but nodded permission. The Suburbanite, who had evidently been waiting for a chance to break into the conversation, seized the moment. You people can talk about your melodramas and your high-brow comedies all night.” he began. “But I like a good, funny —really funny—faree. When 1 go to the theatre want to enjoy myself. “Indeed?” said the Critic. “And have you seen any farce of late that fulfils your somewhat, to say the least, clastic deti , “Yes, Do hav “Somebody's Jimmy Powers had in retorted the Suburbanite. Luggage’ comes right up to. spec i gave me more laughs to the square inch than [I've years. The situations in ‘Somebody's Luggage’ were a trifle antiquated, "* said the Critic. “But 1am bound to agree with you that the piece was highly amusing. Also, it provides com- plications which do not strain the imagination of the audience the breaking-point. ‘This last quality, | may add. is unusual in modern farces And) Mr. Powers is clever — exceptionally clever. TL rather like farce which does not entirely depend for its effect on cither slapstick antics or risque lines. ‘Some body's Luggage’ will repay its audiences richly “We seem to be awfully agreeable this Z. id the Tired Business Man “What's gotten into us all? We usually fight over these plays. Here are the Débutante and the Suburbanite and friend Andrew and you talking theatre—and not a harsh word as yet! [t's amazing. “We are a peaceful lot," said the Critic. “But it seems to me that the reason for our peacefulness is the number of comedies and farces on the boards—and the lack of musical comedies and revues.” The Tired Business Man is still puzzling over this last remark. quite te very Lo see comicbooks.