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David Belasco, who produced the play, also complied with naturalistic requirements, making the most of the sordidness of the fallen Laura’s furnished room, as well as doing his eye-filling best by her previous installation in a luxurious •hotel.

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By 1919 Eugene Walters could dramatize the fluctuations of an immoral heroine in The Easiest Way and refrain frorrf reforming her at the end.

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.

Sacre^ cows were discreetly marked for sacrifice, as when, in 1911, Charles Klein, who made a\ business of grinding out popular fare, touched upon malefactors of great wealth in The Lion and the Mouse and when Edward Sheldon took note of political corruption in The Boss .

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!

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