Judge, 1926-03-06 · page 12 of 36
Judge — March 6, 1926 — page 12: what you’re looking at
What you’re looking at
# "The Magic Hour" Satire Explanation This is a theatrical parody mocking 1920s pretension and faddishness. The playlet satirizes: **The "Butter-and-Egg Man"**: A wealthy, unsophisticated businessman (Cad) trying to seduce an actress (Sylvie) by affecting intellectual superiority—quoting Latin and speaking French while kicking her and offering cigars. **Charleston Obsession**: The dance craze dominates absurdly; characters inexplicably break into song about learning the Charleston, with costumes magically transforming to French colors. **Literary Snobbery**: Michael Arlen (a fashionable 1920s author) is dismissively called "England's revenge for the Boston Tea Party"—mocking contemporary literary pretension. **The Whole Affair**: A one-hour "Magic Hour" that supposedly occurs in darkness, filled with non-sequiturs, illogical stage business, and pseudo-intellectual dialogue—parodying modernist experimental theater's self-importance while capturing 1920s Jazz Age frivolity. The satire targets both wealthy patrons and theatrical absurdism of the era.
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Qe RD FAMOUS MOMENTS IN THEATRICAL HISTORY Fin Du Siecle Butter-and-Egg man presents a member of the original Floradora Sextette with a The Magic Hour An Allegorical Playlet (Curtain rises on stage immersed in blackness. It remains that way throughout entire course of action. A clock strikes seven, thus symbolizing the Magic Hour.) | is Cadwallader and Sylvie hand in hand. She seems reluctant. Cad (breathing heavily) —Ali- quando bonus dormitat Homerus! “Horseless Carriage.” Sylvie (blushing furiously) —Appa- ratus criticus! (She tries to pull away.) Hic—haec—hoc—(plead- ingly). Cad (menacingly)—Bring on the Charleston! (Unseen orchestra bursts into song. Sylvie sings “Bring On the Charles- ton!” Applause from ensemble, who are clad in costumes pour le sport. They, too, sing and dance “Bring On the Charleston!’”’) Cad (offering Sylvie a cigar)— Make believe you’re French and I’m English, and you say to me, “I think your old Thames is messy.” “T’m not sure I'll marry him, he’s very tight with his money, even at this stage.” “Did you ever meet a producer who paid out on rehearsals?” Sylvie (falling into spirit of banter) —I think your old Thames is messy! (She falls.) Cad (kicking her)—So is your old Marne! (Applause and laughter from en- semble who quickly turn their clothes inside out and stand miraculously draped in the colors of the French Republic. The orchestra bursts into “They're Learning the Charleston in Paree.” Sylvie sings and dances the Charleston for three-quarters of an hour. Suddenly the orchestra, in muted tones, blends ‘““They’re Learn- ing the Charleston in Paris” with the “Marseillaise” in a minor key.) Cad—(After the applause has died down, which isn’t long)—Sylvie, sup- pose you tell me what is England’s revenge for the Boston Tea Party? Sylvie—Dunno. Wot? Cad—Michael Arlen. (Sylvie trips off stage laughingly.) (Orchestra bursts into “Since Char- lotte Learned the Charleston.’’) A Voice (wearing a one-piece bathing-suit; a U.S. Marine’s em- blem tattooed on its superb back)— Arise! It is past eight o'clock and soon the school bells will be a-ring- ing! (A loud gong. Once. Denoting one (1) o’clock. The Magic Hour is, in other words, atanend. And so is this, thank heaven!) Marjorie Damsey Wilson comicbooks.com