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The Project Gutenberg EBook of Washington Square Plays, by Various This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Washington Square Plays Volume XX, The Drama League Series of Plays Author: Various Release Date: February, 2002 [Etext #3068] Posting Date: November 1, 2009 Language: English Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK WASHINGTON SQUARE PLAYS *** Produced by Dianne Bean WASHINGTON SQUARE PLAYS Volume XX, The Drama League Series of Plays 1. The Clod. By Lewis Beach 2. Eugenically Speaking. By Edward Goodman 3. Overtones. By Alice Gerstenberg 4. Helena's Husband. By Philip Moeller With An Introduction By Walter Prichard Eaton Preface By Edward Goodman Director of the Washington Square Players Garden City New York Doubleday, Page & Company 1925 Copyright, 1916, By Doubleday, Page & Company The Clod. Copyright, 1914, By Emmet Lewis Beach Eugenically Speaking. Copyright, 1914, By Edward Goodman Overtones. Copyright, 1913, By Alice Gerstenberg Helena's Husband. Copyright, 1915, By Philip Moeller In its present form these plays are dedicated to the reading public only, and no performance of them may be given. Printed In The United States At The Country Life Press, Garden City, N. Y. INTRODUCTION The rigid conventionality of the theatre has been frequently remarked upon. Why the world should ever fear a radical, indeed, is hard to see, since he has against him the whole dead weight of society; but least of all need the radical be dreaded in the theatre. When the average person pays money for his amusements, he is little inclined to be pleased with something which doesn't amuse him: and what amuses him, nine times out of ten, is what has amused him. That is why changes in the theatre are relatively slow, and customs long prevail, even till it seems they may corrupt the theatrical world. For many generations in our playhouse it was the custom to follow the long play of the evening with an "afterpiece," generally in one act, but always brief, and almost always gay, if not farcical. Audiences, which
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