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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..9f57f44 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,13 @@ +* text=auto +*.txt text +*.md text +*.htm text +*.html text +*.png binary +*.jpg binary +*.svg text +*.pdf binary +*.bmp binary +*.zip binary +*.midi binary +*.mp3 binary diff --git a/78852-0.txt b/78852-0.txt new file mode 100644 index 0000000..0af2721 --- /dev/null +++ b/78852-0.txt @@ -0,0 +1,2975 @@ +*** START OF THE PROJECT GUTENBERG EBOOK 78852 *** + + + + +THE UNDERCURRENT + +[Illustration: FAY EHLERT] + + + + + THE UNDERCURRENT + + _A One Act Play_ + + BY + FAY EHLERT + + PREFACE BY + JOHN POLLOCK + + [Illustration] + + SAMUEL FRENCH + Thos. R. Edwards Managing Director + NEW YORK LOS ANGELES + + SAMUEL FRENCH LTD. LONDON + 1929 + + + + +_ALL RIGHTS RESERVED_ + + +Copyright 1928 by The Drama Magazine + +First Revision copyright 1929 by Fay Ehlert + +International copyright 1929 by Fay Ehlert + +_CAUTION: Professionals and amateurs are hereby warned that “THE +UNDERCURRENT,” being fully protected under the copyright laws of the +United States of America, the British Empire, including the Dominion of +Canada, and all other countries of the Copyright Union, is subject to a +royalty. All rights, including professional, amateur, motion pictures, +recitation, public reading, radio broadcasting, and the rights of +translation into foreign languages are strictly reserved. In its present +form this play is dedicated to the reading public only. All inquiries, +regarding this play should be addressed to Samuel French, 25 West 45th +Street, New York, N. Y. Available for amateurs in restricted territory +only. Royalty will be quoted for those cities or towns where it may be +presented by amateurs upon application to Samuel French._ + +MANUFACTURED IN THE UNITED STATES OF AMERICA BY THE VAIL-BALLOU PRESS, +INC., BINGHAMTON, N. Y. + + + + + _Dedicated in appreciation_ + + TO + MORT SINGER + BEN J. PIAZZA + + THROUGH WHOM “THE UNDERCURRENT” + FOUND ITS WAY TO THE PROFESSIONAL + STAGE + + + + +FOREWORD + + +“The Undercurrent” is a page from life’s drama. From the very +beginning—in the days when I haunted the Morals Court, the Domestic +Relation Court and the Psychopathic Laboratory, I have always been drawn +to our countless Annies, beaten, swept along, vague about everything in +life—even their destination. And never have I found it in my heart to +blame them for their plight. Sometimes people have said to me: “But Mrs. +Ehlert, you can’t tell me that this girl doesn’t realize she is doing +_wrong_! She knows better than to—” And I have always pleaded: “Please +don’t say a word against her, please don’t! Perhaps, if we were in her +shoes, we might be ten times worse than she! You never can tell by +looking at a person, what undercurrent may be sweeping her along!” + +And that is how I came to write this playlet. I took a typical Annie, one +that you can find on any street, and thought: “Now, why is she a little +street walker? What has been the cause? What may be the undercurrent in +_her_ life? What has brought her into the court?” + +I didn’t want to preach or teach a lesson. I simply wished to bring _real +life_ before audiences; something vital to make them think; to make them +more sympathetic in their judgments of others, whether they were “Annies” +or “Pa Fishyers.” And the results of my experiment have touched me deeply. + +Since our first performance, never have we failed to grip our audiences, +to tug at their heartstrings. And these audiences have come from all +walks of life, from the highest to the lowest; from women’s clubs, social +agencies, churches, charitable organizations, Little Theatres, courts, +banks, stores and factories. Not a week passes but we are conscious of +the effect our playlet is having upon the lives of others. From the +scraggly bouquet of flowers sent over the footlights in Los Angeles with +those laboriously scrawled lines: “From one whats got a husband like +that” to the ring which a well-groomed Brooklyn woman insisted upon +giving me with tears in her eyes, a little silver ring which she had worn +on a black velvet ribbon ever since her granddaughter’s death. + +And our audiences have not been the only ones to receive us with +outstretched hands! Coming into a new world, strange and foreign to us, +I don’t know what we should have done had not hundreds of hands reached +out to help us along. And these friendly gestures came from the members +of the Radio-Keith-Orpheum Circuit, from the theatre managers and their +staffs, and from the professional players on the bills with us. I wish +to thank them again and again for the personal interest they took in our +playlet and their unselfish efforts in our behalf. + +It would be impossible for me to mention every individual and institution +who graciously helped me launch my playlet on its career, but I would +feel very ungrateful were I not to name: Frank Harris, Theodore B. +Hinckley, John Vandervoort Sloan, C. J. Bulliet, James Gray, Frank +Moneyhun, Fritz Blocki, Katherine Graham, Dr. George Scherger, Mary +A. Blood, Edith S. Lueders, Mrs. John B. Boddie, Alice C. D. Riley, +Ethel Rogers Swift, Bertha E. Burrill, Helen Sanford, C. Russell Small, +May Kronan, Jennie Swanson, Caroline Cooper, the Columbia College of +Expression, the University of Chicago, The Town and Gown Playshop of +Northwestern University, the Evanston Woman’s Club and the Drama League +of Chicago. + +As for my untiring cast, their devotion and loyalty to “The Undercurrent” +has become almost a by-word in the theatrical world. What would I have +done without their assistance? My “six starlets”—God bless them! + +And finally, I wish to thank those who in a great measure are responsible +for the success of “The Undercurrent,” the press in America and Canada, +and the theatrical publications, The Billboard, Inside Facts, The +National Vaudeville News, Variety, Zit’s, and last but not least Samuel +French, who is publishing “The Undercurrent.” + + + + +PREFACE + + +The one-act play became a theatrical outcast. The waif roamed from +door to door but no one bid the poor thing enter. Since the very +beginning when Voltaire wrote and played short pieces for the Princes of +France—pieces of that nature have encountered innumerable difficulties. +They were always appendages of some sort or other. The going was +particularly hard in America, until vaudeville and the Little Theatre +provided a home for the tabloid play. Then the short dramatic works of +eminent authors came into their own. Such writers as Barrie and Synge +and Dunsany and Zangwell gave as much to the one-act play as they did to +their longer efforts or novels. But the supply did not equal the demand. +Everybody began to write one-act plays and soon they had deteriorated to +the extent that there was no public for them. + +The Little Theatre, having outgrown its babyhood, considered short plays +beneath their dignity. Vaudeville discarded them almost entirely. The +waif of the theatre became a wanderer, but just as the wanderer was +about to curl up in some dark corner and expire, “The Undercurrent” put +in an appearance. + +For the first time in years, an author had taken the one-act play +seriously, attempted to write a piece of dramatic literature that as +far as technique was concerned and drama was concerned, was as complete +and as much an entirety as the play intended for a full evening’s +entertainment. + +“The Undercurrent” was not the work of an established author. Writers of +that ilk had been weaned away from the short play and would have nothing +to do with it. Schools and colleges of course were paying considerable +attention to the one-act play, but as the kindergarten of playwriting. +The very first step in the course and to be abandoned just as the +alphabet and spelling book make way for more advanced studies. + +When Mrs. Fay Ehlert announced that the one-act play to her mind deserved +serious consideration, she was laughed at, but Mrs. Ehlert is not the +kind of a woman who may be laughed at with impunity. She not only stuck +to her guns, but determined to prove the accuracy of her marksmanship. + +“The Undercurrent” was the result. Writing a short play that treated a +serious thought seriously; one that transposed a slice of actual life to +paper and the stage in an interesting, virile and vital manner, was the +least of her difficulties. Having written such an opus her real troubles +began. + +“The Undercurrent” found no ready and waiting “welcome on any mat.” It +went from one door to another, only to find no latch string hanging out. +Mrs. Ehlert was schooled in diplomacy. She is the wife of a Chilean +Consul. Patience therefore was one of her many assets. She waited but +worked as she waited; and finally succeeded in having “The Undercurrent” +entered in the Chicago Little Theatre Tournament of 1928. The rest is a +matter of history. “The Undercurrent” won first award. Seldom, if ever +before, has a one-act play been in such great demand. And this is as +it should be, for certainly not since the short play bowed out of the +dramatic picture, no one has written a better, more interesting, or more +entertaining playlet than this one. + +Vaudeville, always quick to take advantage of opportunity, swept down +on “The Undercurrent” like an eagle with the result that the longest +consecutive tour ever arranged for any act went to this one of the +“untouchables.” + +Little Theatres and the innumerable societies who produced plays for +social and educational purposes, insisted that they be allowed to present +“The Undercurrent.” + +Mrs. Ehlert, both because of her ability as a writer and her belief in +the fact that drama is drama, regardless of its length, has done a big +thing not only for herself but for the theatres in general. She has +rekindled an interest in the short play. She has reestablished a public +for the short play. She has demonstrated beyond the shadow of a doubt +that even a miscellaneous audience appreciates something really worth +while. She has reopened a road that will undoubtedly be traveled by many +followers. + +The one-act play has again come into its own. Because of Mrs. Ehlert +and “The Undercurrent” the serious one-act play will again command the +attention of established writers. There will again be a place for its +presentation, and what is of even greater importance, is the fact that +probably no longer will the one-act play be considered a proving ground +for better things. “The Undercurrent” has turned the tide. + + JOHN POLLOCK + + + + +“The Undercurrent,” winner of The Drama League Cup at the Chicago Little +Theatre Tournament, May 1928, was presented by the Town and Gown Play +Shop of Northwestern University. + +The following is the cast of “The Undercurrent” upon its first +professional appearance at the Palace Theatre, Chicago, June 24th, 1928. + + PA FISHYER _C. Russell Small_ + MA FISHYER _Harriet Allyn_ + ANNIE, their daughter _Gladys Pfeffer_ + EMIL, their son _Charles White_ + MRS. FLOYD, a neighbor _Helen Sanford_ + MISS PAGE, a social worker _Ethel Rogers Swift_ + + Time: The Present Place: New York City + + + + +DESCRIPTION OF CHARACTERS + + +_PA FISHYER, the janitor of the building, is a man of about fifty. He +speaks in curt, terse sentences, and is continually grumbling under his +breath. He is easily angered and will tolerate no opinion but his own. An +honest man, but one who dominates his family through fear._ + +_MA FISHYER is a ground-down, care-worn woman of perhaps forty-five years +of age. She moves quickly and bustles around constantly, as though to +hide her nervous fears. She is ever alert to protect her children from +her husband’s harsh and relentless methods._ + +_EMIL is her childish son. Tall, gawky, docile and unobtrusive, he moves +with a certain machine-like submission. Twenty-five may be his age._ + +_ANNIE, about seventeen, is her mother’s greatest “worry,” a bit of human +“driftwood.”_ + +_MRS. FLOYD is a sharp-tongued, meddlesome neighbor_. + +_MISS PAGE, capable, sympathetic, and firmly believing that “to +understand all, means to forgive all,” is an investigator for the Morals +Court._ + + + + +THE UNDERCURRENT + + + + +THE UNDERCURRENT + + +SCENE: _In the basement kitchen which also does duty as living and +dining room in an old-fashioned New York apartment building. An air +of orderliness pervades the room, which is furnished with the meager +belongings of the Fishyer family. Shabby, faded curtains hang limply on +each side of the small iron-barred window to the left of the room. The +galvanized sink is in the back, flanked on the right by the kitchen range +and on the left by an old cupboard. A coat rack has been nailed to the +side of this cupboard. Over the sink is a shelf, holding the alarm clock, +comb and brush and shaving mug. The kitchen table covered with a red +table cloth occupies almost the exact center of the room. Upon the table +are four plates, knives, forks, cups and saucers, half a loaf of rye +bread, a glass jar filled with teaspoons, and a partly filled bottle of +milk. There are four chairs around the table._ + +_To the left of this table and near the front of the room stands a +dilapidated horse-hair sofa. Directly vis-a-vis from this sofa at the +Lower Right is a Morris chair which through long usage has sagged and +remolded itself to PA FISHYER’S two-hundred odd pounds. The door at the +Right leads into a short corridor through which the FISHYER’S must pass +in order to reach the bedrooms, boiler room, store-room, back stairs, +etc. A small table, ladened with pipes, tobacco jar and the Bible is to +Right of this door, and the wall phone to the Left. A clothesline with +its motley array of rags has been fastened to the hook above the phone +and then stretched diagonally across the stove to the shelf above the +sink. As this room is below the street level, it is necessary to mount +the short flight of stairs Upper Left in order to reach the areaway door +Upper Left._ + +_It is evening, about 5 minutes of six, and a light snow is falling. +The feet of the passers-by can be seen through the dimly frosted window +panes._ + +_MA FISHYER is peering through the window. Her whole attitude is one of +terrible anxiety and she turns with a half sob of relief as she hears the +areaway door open stealthily._ + +MA FISHYER + +[_Under her breath._] A-annie? + +MRS. FLOYD + +[_Stalking down the stairs._] Hello, there! + +MA FISHYER + +[_Swallowing her disappointment._] Ach, it’s yuh, Mis’ Floyd! I—I thought +yuh vas ... [_She turns back to the window again_] ... s-somebody else! + +MRS. FLOYD + +[_Maliciously._] Didya now! [_Eyes ANNIE’S place at table._] Who fer +instance? + +MA FISHYER + +Ach, eferybody alvays comes to de jeniter for something ... maybe Mis’ +Richards about de g-garbage pails.... + +MRS. FLOYD + +... or mebbe even Annie, huh? + +MA FISHYER + +[_Unaware of the other’s curt smile._] Shure, it’s Thursday to-day ... +and she alvays comes.... + +MRS. FLOYD + +Is that so? Well, ya never kin tell! [_Shakes fist at door Right._] Huh, +I got some news to spill in yer ear! [_Seats herself in PA FISHYER’S +chair, Right of table._] + +MA FISHYER + +Ach, not—not now! [_Still peering out of window._] Pa’ll be here right +avay and by six he vants to eat. Not a minute efter six vill he vait.... +[_She looks at the clock._] + +MRS. FLOYD + +[_Leaning over._] It’s about someone ya know! + +MA FISHYER + +... and ef Annie ain’t here on time.... [_She turns startled as MRS. +FLOYD’S last words reach her._] ... A-about somevun vat I know ... vat I +k-know? + +MRS. FLOYD + +[_Venting her spite._] I’ll tell de world ya do! + +MA FISHYER + +It ain’t nothin’ bad? + +MRS. FLOYD + +Bad? Well! [_She glares at the door Right._] I imagine some people what +thinks _my_ son ain’t good company fer their daughter—certainly are going +to have a fit to-night! [_With compressed lips._] I’ll say _he_ is! Yes, +siree! + +MA FISHYER + +[_Coming slowly towards her._] It ain’t ’bout Annie? + +MRS. FLOYD + +Nuthin’ else but! + +MA FISHYER + +[_Moans._] Ach! [_Goes fearfully towards door Right and, half opening it, +listens intently._] + +MRS. FLOYD + +My son may be a little wild, but he ain’t never been _arrested_ yet. + +MA FISHYER + +Arrest.... [_She darts forward and puts her hand over MRS. FLOYD’S +mouth._] Shhhh! + +MRS. FLOYD + +[_Sputtering._] Say.... + +MA FISHYER + +[_She glances terror-stricken to door._] Pleese to go now—he-he’s comin’, +h-he’s c-comin’! + +MRS. FLOYD + +What of it? I ain’t skeered of him. + +MA FISHYER + +P-pleese, not now! [_Desperately._] Not now—come efter vile ... pleese +... [_Tugs at her dress._] + +MRS. FLOYD + +[_Rising._] All right! I’ll go! [_Shakes her off._] But stop pushing! +I’m going! [_Hobbles up the stairs and slams door. Before MA FISHYER can +breathe her relief, she opens the door again._] But I’ll be back later! + +MA FISHYER + +Yess, yess, l-later.... + + [_Scarcely has the door closed after MRS. FLOYD when PA FISHYER + enters wearily from door Right._] + +FISHYER + +[_Throwing his denim jacket over Morris chair._] Huh! [_He strides over +to the sink and begins washing himself._] Huh! Supper ready? + +MA FISHYER + +[_At the table._] A-almost.... + +FISHYER + +[_He growls._] Almost? Don’tcha know yess or no? [_He pushes up his +spectacles and glares at the clock._] Vere’s Annie? It’s nearly six +already! + +MA FISHYER + +De c-clock iss a l-little f-fest.... [_Walks nervously to window._] + +FISHYER + +Fest? Dat clock iss _alvays_ right, yuh hear me? Alvays right! + +MA FISHYER + +Yess, P-pa! + +FISHYER + +[_His wrath increasing._] Vell, vere iss she? + +MA FISHYER + +[_Busies herself at stove._] Na, Pa, she’ll be h-here eny minute soon! +Yuh know, h-how de l-lady k-keeps her! [_She glances at the door through +which MRS. FLOYD has left._] And m-maybe—in dis b-bed veather, she kent +come at all! + +FISHYER + +Vat! [_Drying his hands._] + +MA FISHYER + +I—I mean—efen in _good_ veather, only vunce a veek does she haff a day +off. + +FISHYER + +Dat’ll do! [_Throws towel on sink._] Ve vait ’til six ... [_Takes +Bible from table and seats himself in Morris chair._] ... and den ve +eat! [_Groans as he rubs his rheumatic left arm. EMIL enters from door +Right._] Na, Dummy, vat did she vant? [_Points upward._] + +EMIL + +[_Timidly._] She fergot her key and.... + +FISHYER + +... and yuh hed to open de door for her! [_He growls._] Vy don’t yuh say +dat right avay? [_He begins reading the Bible, following each word with +his finger._] + +MA FISHYER + +Come, Emil ... [_She nods warningly in Fishyer’s direction._] ... and +vash yerself. + +FISHYER + +[_He reads laboriously._] “Train op a child in de vay he should go +... [_Glares at EMIL and then repeats._] ... de vay he _should_ go! +[_Reads._] ... and ven he iss old ... [_Repeats to himself._] ... old ... +he vill not depart from it....” + + [_There is a knock at the outer door Left and MA FISHYER stands + transfixed, her face ashen. EMIL, his hands half-washed, looks + inquiringly at his father._] + +FISHYER + +Na, open de door! + +EMIL + +[_Hurriedly wiping his hands on his trousers, he mounts the steps and +opens the door._] Whatcha want? + +MISS PAGE + +Good evening! Does Annie Fishyer live here? + +EMIL + +Yeh ... [_He shuffles back to the sink._] ... come on in! + +MISS PAGE + +[_Descending the stairs._] Thank you. I wasn’t quite sure. [_Kindly to MA +FISHYER._] You must be Annie’s mother and.... + +FISHYER + +I em Karl Fishyer! + +MISS PAGE + +Ah, yes, Annie’s father. [_She smiles her quick warm smile._] I don’t +think you know me. I am Miss Page, a special investigator from the Morals +Court! + +MA FISHYER + +[_Tremulously to FISHYER._] De lady, Pa, de l-lady vat Annie v-vorks +f-for.... + +FISHYER + +So? + +MISS PAGE + +[_Surprised._] Works for me? + +MA FISHYER + +[_Hurriedly._] Pleese to come and sit down, Mis’, here on de sofa! [_She +deftly dusts the sofa with a swish of her apron and then steps back and +looks at MISS PAGE apprehensively._] + +MISS PAGE + +I think you are mistaking me.... [_She stops as she sees MA FISHYER’S +drawn face._] + +MA FISHYER + +[_Indicating the sofa._] P-pleese, Mis’.... + + [_PA FISHYER meanwhile replaces the Bible on the table. MISS + PAGE sits down without another word._] + +MA FISHYER + +[_Quickly._] Annie a-ain’t home yet, b-but.... + +MISS PAGE + +[_Puzzled._] Isn’t home yet? Are you expecting her? + +FISHYER + +Huh? [_He turns towards them._] Shure—I expect her to come! + +MA FISHYER + +Y-yess, she always c-c-comes here on her day off—Pa means! + +MISS PAGE + +[_Probing gently._] Her day off? + +MA FISHYER + +Maybe she n-nefer tells yuh, b-but she alvays c-c-comes here Thursdays. +[_She wets her lips._] D-don’t she, Pa? + +FISHYER + +[_Grudgingly_] Huh! [_To MISS PAGE._] Since she’s vid yuh, Mis’, yess! + +MA FISHYER + +[_She talks to MISS PAGE, but her eyes are anxiously on FISHYER._] And +efery cent vat she earns by yuh, she brings to her Pa! + +MISS PAGE + +She—does what? [_Drawing off her gloves._] + +MA FISHYER + +E-efery cent she brings to her Pa! She iss a fine girl.... + +FISHYER + +[_Cutting her short._] Vat’s dot to brag ofer? + +MISS PAGE + +[_Soothingly._] _Well_, I’m sure Annie is.... + +MA FISHYER + +[_Eagerly._] Yuh hear, Pa? Efen Mis’ Page sez vat a fine Annie ve got. + +FISHYER + +Huh, she’s purty goot _now_! But before she vent mit yuh, Mis’ ... [_He +clenches his fist in wrath._] ... I—her fadder—didn’t know vhere she vas +for three months efen.... [_MISS PAGE suppresses a start._] + +MA FISHYER + +[_Imploringly._] But Pa, yuh know _now_ vere she vas! [_To MISS PAGE._] +H-he m-means de time ven she v-vas by yuh in ... [_She swallows hard._] +... de _country_. + + [_MISS PAGE conceals her astonishment._] + +FISHYER + +Efen ef she vas.... + +MA FISHYER + +... and how vell she looked ven.... + +FISHYER + +... she come home agen! [_He paces angrily back and forth._] I hear dot a +million times already, too! + +MA FISHYER + +But P-pa.... + +FISHYER + +All I say iss—dot’s no vay to treat yur fadder! And efter de strict +bringing op I giff de children, dey must remember—alvays—dat I em dere +fadder! _I em de boss here!_ [_To EMIL crouching against the wall._] Yuh +hear me? + +MA FISHYER + +[_Imploringly._] Pa, pleese, Pa. + +FISHYER + +[_Glaring at the clock._] It’s six; ve eat now! [_He seats himself at +table Right and begins slicing bread, motions EMIL to his seat, EMIL sits +facing the audience._] + +MISS PAGE + +[_She has been watching them attentively._] Yes, don’t let me interrupt +you! + +FISHYER + +I alvays eat at six! [_Turns towards stove._] Vere iss dot girl? [_MA +comes to table with platter of stew which she places quickly before +him._] Vat time yuh let her come to-day, Mis’...? + + [_Before she can answer, steps are heard and ANNIE enters + hurriedly from the areaway door._] + +FISHYER + +Dere she iss! [_Points at her with knife._] + +ANNIE + +[_Breathlessly._] Oh, Pa, I couldn’t ... I couldn’t help it, I wuz.... +[_She sees EMIL’S finger surreptitiously signaling MISS PAGE’S presence. +She gives MISS PAGE a terror-stricken look, then shrinks back against the +wall for support._] + +ANNIE + +[_Gasps_] Oh! + +MA FISHYER + +[_She goes towards her quickly and holding her tight against her breast, +speaks so as to give her time to recover._] Ach, no vunder she iss +surprised to see her lady here! + +ANNIE + +[_Clinging to her._] Ma! + +MISS PAGE + +[_Slowly, with great significance._] I had an errand to do in this +neighborhood, Annie, and as I passed this house, I stopped in ... [_Sees +MA FISHYER’S pleading look._] ... to ... to get acquainted with your +parents! + +FISHYER + +And ve are gled to know yuh also. [_He motions to the table._] Yuh eat +mit us? + + [_EMIL pushes out ANNIE’S chair for her._] + +MISS PAGE + +No, thank you. If you don’t mind, I’ll just sit here. + +FISHYER + +Shure! Make yurself to home. + +[_He bangs on the table with his knife._] Ma, ve eat now! + + [_ANNIE hangs her coat and hat on coat rack._] + +FISHYER + +[_Motioning to ANNIE._] Sit down! [_ANNIE slips into her chair, facing +her father. MA FISHYER brings coffee pot to table._] + +MISS PAGE + +[_Observing EMIL with interest._] I didn’t know Annie had a brother. + +MA FISHYER + +[_Hurriedly, before FISHYER can answer._] Ach, yess, and sotch a good +boy! He helps his Pa take care off de house. + +FISHYER + +[_Grudgingly._] Huh! + +MA FISHYER + +[_Dishing out the food to EMIL and ANNIE._] And some day, he’ll be a +jeniter, too! And like our coffee man sez: “Jeniter vork iss nuthin’ to +sneeze at!” So vat vid Pa’s rheumatism, ve are gled to haff Emil help so +nice! + +FISHYER + +Emil—bahhh! [_EMIL crouches behind his mother’s arm._] + +MA FISHYER + +And yuh haff no idea, Mis’, how mutch vork dere iss here to do! [_Pours +coffee._] So vid our Emil.... + + [_FISHYER laughs derisively._] + +MISS PAGE + +[_Soothingly._] Yes, you must be kept very busy, Mr. Fishyer! + +FISHYER + +Bizzy? Yuh don’t know it, Mis’, how crazy ... [_He points upward with his +knife._] ... dose vomens get me! First, vun comes and sez de vater iss +too hot—dat efery time she turns it on—she a Turkish bath gets! Den.... +[_The phone rings._] Yuh see, not efen peace on a meal I got.... [_Pushes +back his chair._] + +MA FISHYER + +Vait, Pa, I go! [_She hurries to phone._] Hollo! Yess, Mis’ Richards, +yess, he _iss_ by de boiler ... [_PA FISHYER motions for EMIL to go +out._] ... puttin’ more coal on! Yess, mam! [_She turns from phone just +in time to see EMIL’S scowling gesture at his father’s back._] Emil! +[_Grabs his cap in frantic haste._] Yur cap ... [_Pushes him towards door +Right._] ... quick! + + [_PA FISHYER, unaware of what is passing in back of his chair, + pounds the table emphatically, with his fist._ + + _With a terrified look, EMIL rushes out, letting MA FISHYER + close the door behind him._] + +FISHYER + +[_He raises his head stubbornly._] I tell yuh, dat voman could by de +devil sit and yet be cold! + +MA FISHYER + +Yess, yess, Pa! But ve are gled to haff dis job! And vat ... mit our Emil +and Annie helpin’ so nice.... + +FISHYER + +Helpin’! Bahhhh! + +MA FISHYER + +Ach, Mis’ Page, efery night I thank de good Gott for my Annie.... + +ANNIE + +[_She turns quickly and gives her MOTHER a beseeching glance._] Ma ... +oh, M-ma.... [_Her coffee cup falls from her nerveless hand, spilling its +contents on her dress._] + +FISHYER + +Huh! + +ANNIE + +Pa ... P-pa ... it slipped! I—I’ll change my dress! [_She rushes out door +Right._] + +FISHYER + +[_Looks after her._] Huh! + +[_Accuses MA FISHYER while he dips his bread in his coffee._] Fine +manners, she got! + + [_Phone rings again._] + +MA FISHYER + +[_Running to phone._] Yess, yess, Mis’ Richards! [_Into receiver._] +Hollo.... Yess, Mis’ Richards, he _iss_.... + +FISHYER + +[_Exasperated._] Oh, vat a dummy of a son, I got! [_To MA FISHYER._] +Maybe he fell in de coal bin again! [_Exits door Right rubbing his +rheumatic left arm._] + + [_MA FISHYER turns from the phone, listens a moment at the door + through which PA FISHYER has gone, then quickly crosses the + room to MISS PAGE. Her whole manner has changed; she seems to + have shrunk suddenly._] + +MA FISHYER + +I em gled to know yuh, Mis’! [_She clasps and unclasps her hands._] And +my Annie—my Annie.... + +MISS PAGE + +[_Gently._] Sit down, Mrs. Fishyer! + +MA FISHYER + +[_She sinks down in Annie’s chair at the left of the table._] She—she iss +mit y-yuh? + +MISS PAGE + +[_Compassionately._] In a way—yes. + +MA FISHYER + +In a vay? + +MISS PAGE + +Yes, I am interested in her welfare and am looking after her. + +MA FISHYER + +[_Scarcely audible._] S-she don’t live m-mit yuh? + +MISS PAGE + +Not exactly.... + +MA FISHYER + +Ach, don’t tell dis to Pa! [_In despair._] Pleese, pleese, don’t tell him +enyding vat iss agenst her! + +MISS PAGE + +[_Leaning forward._] I don’t understand. + +MA FISHYER + +If—if he knows eferyding [_Swallowing with difficulty._] ... h-he kills +her! + +MISS PAGE + +[_Gently._] Do _you_ know everything about her? + +MA FISHYER + +[_Terrified._] No, no, don’t tell me! Pleese not to tell me! I don’t vant +to know! + +MISS PAGE + +Not even when you may be able to help her? + +MA FISHYER + +[_Shaking her head._] All I kin do ... [_Motioning to the boiler room._] +... iss to keep him from findin’ out d-dings about her! [_She looks her +full in the face._] I don’t vant to know enyding agenst my Annie! + +MISS PAGE + +[_Puzzled._] But if you remain in ignorance—how can you be of assistance? + +MA FISHYER + +[_Tremulously._] I kin help her only by—knowin’ nodding. + +MISS PAGE + +What do you mean? You as her mother should be anxious to know. + +MA FISHYER + +Yess, yuh haff right! But yuh don’t know Pa! [_She whispers._] He alvays +suspicions eferybody! Me—Emil—Annie! He dinks I hide from him someding +about de children! [_She pauses._] And den—it best iss I don’t know +dings. [_Slowly._] Ven yuh don’t know dings, he kent be scoldin’ yuh all +de time! + +MISS PAGE + +[_Aghast._] But—why should he? + +MA FISHYER + +[_Bitterly._] Ach, vy! Vy should he? [_She passes her hand across her +eyes._] Vat kin yuh do mit a man vat hass in his head only _vun idea_! + +MISS PAGE + +One idea? + +MA FISHYER + +Vun idea! [_Brokenly._] Dot all children should be brought op +_strict_—mit mutch scoldin’ and vhippin’. + +MISS PAGE + +[_Indignantly._] But can’t you convince him that such harsh methods.... + +MA FISHYER + +[_Sobs._] I k-kin do nodding mit him—no vun kin! [_She beats her clenched +fist against her forehead._] He hass dot vun idea in his head and ... +[_She stares frantically at the door through which MRS. FLOYD has gone._] +... h-he must n-nefer find out! + +MISS PAGE + +Find out what? [_As MA FISHYER rocks back and forth weeping._] Don’t be +afraid. Tell me. + +MA FISHYER + +[_Tearfully._] Pleese, Mis’ Page, don’t let him find out dings a-agenst +A-Annie! [_Weeps._] P-p-pleese, pleese see I go on m-my knees t-to yuh! +[_Sinks down at MISS PAGE’S knees._] Pleese ... p-p-pleese! + +MISS PAGE + +[_Her eyes filled with tears._] Don’t cry, don’t! [_She places her arm +around her shaking shoulders._] Why didn’t you come to see me? + +MA FISHYER + +[_Weeping as she grasps MISS PAGE’S hands in agony._] Ach, I vanted to +c-come so m-meny t-times and esk yuh ... take c-care off Annie! L-look +efter her ... b-but I vas afraid! + +MISS PAGE + +Afraid? + +MA FISHYER + +Yess, because ... m-maybe.... + +MISS PAGE + +[_She looks with sudden understanding towards ANNIE’S chair._] ... there +_was_ no Miss Page? + +MA FISHYER + +Yess! But n-now I seen yuh! [_She grasps her arms convulsively._] Yuh +_vill_ l-look out for her, von’t yuh? [_She wails._] It iss all I haff in +de vorld—my two c-children—all I haff. [_Sinks weeping bitterly against +MISS PAGE._] + + [_EMIL’S whimpering cry is heard from the boiler room._] + +EMIL + +M-ma! Oh, Ma! + +MA FISHYER + +[_She starts up._] It’s Emil! Yuh vill oxcuse me? [_Wearily._] I gotta +go—he forgot agen to open de valve maybe! [_She grabs her shawl from the +coat rack._] And Pa mit hiss rheumatism kent reach op.... + + [_MISS PAGE rises._] + +FISHYER + +[_Angrily from the boiler room._] Ma! Yuh hear me? + +MA FISHYER + +Yess, Pa! [_To MISS PAGE._] Yuh _vill_ take care off her? + +FISHYER + +Ma! Come here! + +MA FISHYER + +[_She chokes back the tears as she opens the door to the boiler room._] +Yess, Pa, I em c-comin’! [_She whispers back to MISS PAGE._] And pleese, +alvays to remember—Pa should know nodding agenst her. [_She backs out +murmuring._] No-nodding ... n-nodding. + + [_MISS PAGE dries her own tears and looks about the room with + distaste. Then she goes resolutely to the door Right and opens + it._] + +MISS PAGE + +[_Calling softly._] Annie! Annie! [_Motions._] Come out here! [_MISS PAGE +walks to table._] + + [_ANNIE enters and closes door softly. She listens attentively, + her face pressed against the door._] + +MISS PAGE + +[_Back of EMIL’S chair._] What have you been telling them? + +ANNIE + +[_On the defensive._] Nuthin’ much ... only that I worked for ya as a +hired girl! + +MISS PAGE + +Why did you do that? + +ANNIE + +[_Back of arm chair._] So’s to get away from here! If he thought I wuz +a dish washer in a restaurant I’d hafta live here! [_She shudders._] +Nuthin’ doin’! I had seventeen years of it! + +MISS PAGE + +Yes, but still this is your home. + +ANNIE + +Yeh! [_Tremulously._] And I know what it’s like! + +MISS PAGE + +Didn’t you tell anyone? [_ANNIE shakes her head._] Not even your mother? + +ANNIE + +[_Goes quickly towards MISS PAGE. Aghast._] And have him beat it outta +her? Whadda ya think I am? + +MISS PAGE + +[_Puzzled._] Why did you tell them you worked for me? + +ANNIE + +Well, I—I hadda give somebody’s name and yuh wuz de only one I could +think of! [_Glances quickly towards closed door Right, then pleads._] +B-before that happened last year, Miss Page, I n-nearly w-went crazy, +and when I fell over _that time_ and ya sent m-me to de home until +e-everything wuz over.... I—j-jest sorta never forgotcha! + +MISS PAGE + +[_Severely._] Yes, but what has that to do with all this? + +ANNIE + +W-well, I n-needed some sorta alibi fer stayin’ away from here ... +[_Moves slowly down stage Right._] ... s-so I—I told ’em I _worked_ for +ya and that ya wuz goin’ out to de _c-country_ and I hadda go ’long! + +MISS PAGE + +[_Insistent._] And what else? + +ANNIE + +W-well, when I got outta de _hospital_, I stuck to my story and only came +here Thursdays. + +MISS PAGE + +[_With a helpless gesture._] Oh, Annie, why can’t you behave yourself? + +ANNIE + +[_Vehemently._] I _do_, Miss Page, honest I do! [_Crosses to Lower Left +to escape MISS PAGE’S searching eyes._] B-but I can’t help it if there’s +a-always somebody s-snitchin’ on ya! + +MISS PAGE + +[_Reproachfully._] Snitching! But Annie.... + +ANNIE + +[_Nervously, twisting and untwisting her belt._] I d-don’t care _what_ +they say! I—I didn’t pick up with that feller on de s-street! He—h-he wuz +in de room when I g-got in last night! + +MISS PAGE + +[_Coming towards her, slowly._] And _how_ did he get there? + +ANNIE + +[_Feebly._] Oh—er—one of de girls musta let’m have de key! + +MISS PAGE + +[_Sadly._] Those girls! [_ANNIE shrinks further away._] Why do you live +with them? You promised me the last time, you wouldn’t have anything more +to do with Mame and Lottie! + +ANNIE + +[_Haltingly._] But they’se so good to me, Mis’ Page! I gotta live some +place ... it might as well be with dem.... + +MISS PAGE + +... and get yourself constantly into trouble? + +ANNIE + +[_Protesting._] Oh, Mis’ Page! Ya don’t want me to live _here_, do ya? +[_Tremulously._] Gee, if it wuzn’t fer Ma I’d n-never come h-here! B-but +Ma ... [_Her whole heart is in her voice._] ... she’s m-my M-ma ... +[_Sobs._] ... s-she’s m-my M-m-ma! + +MISS PAGE + +[_Walks up and puts her arm around ANNIE’S shaking shoulders, holds her +tight._] What’s going to become of you, Annie? + +ANNIE + +[_With hopeless shrug._] I dunno—and I don’t care! [_Moves away._] Just +so long ... [_Nods to door Right._] ... as _he_ don’t ketch on! + +MISS PAGE + +[_Walks thoughtfully back a few steps towards door Right before +turning._] Do you know why I came here to-night? + +ANNIE + +N-no. + +MISS PAGE + +I came here to find out the kind of home you have, so when I see the +Judge ... [_ANNIE looks up startled._] ... to-morrow morning, I can tell +him a little more about you! + +ANNIE + +[_Whispers._] A-about me? + +MISS PAGE + +Yes! [_Earnestly._] I’ve always been on the square with you, haven’t I, +Annie? [_ANNIE nods._] And I want to help you all I can. _But_ you’ve +been picked up four times during the last five months for loitering on +the streets late at night! [_As ANNIE starts to appeal._] And _last_ +night the _police_ raided the flat you were in! + +ANNIE + +[_Protesting._] But honest, Mis’ Page, I couldn’t help it! [_She looks +about her like an hunted animal._] Ya see, I wuz ... wuz ... shhh! + + [_The areaway door has opened and MRS. FLOYD appears on top + stair._] + +MRS. FLOYD + +[_Her beady eyes glisten in anticipation as she surveys ANNIE._] Hello, +there! [_She stumps down the stairs._] + +ANNIE + +[_Instinctively on the defensive._] H-hello! [_Moves forward to head her +off._] Ma’s helping’ Pa! + + [_MISS PAGE crosses to sofa._] + +MRS. FLOYD + +[_Shaking off ANNIE’S restraining hand._] Oh, is she now! [_Pulls out +EMIL’S chair._] Then I’ll wait fer her! + +ANNIE + +[_In desperate fear, jerks her around._] I toldja, she’s helpin’ Pa! + +MRS. FLOYD + +[_Flinging her against the cupboard._] Lissen, girlie, I gotcha de +_first_ time! + + [_MA FISHYER enters hastily from door Right._] + +ANNIE + +[_Almost hysterical in her fright._] Then beat it! + +MA FISHYER + +Ach, Mis’ Floyd, I heard yuh close yur door! Ve—ve heff company now ... +maybe it be better ve go on to _yer_ flet.... + +MRS. FLOYD + +Oh, this suits me, I ain’t pertic’ler! [_Seats herself in EMIL’S chair. +Watching ANNIE signalling to MISS PAGE._] Who’s her friend? + +MA FISHYER + +[_Nervously._] Oxcuse me, but dis iss Annie’s Mis’ Page.... + +MRS. FLOYD + +[_In response to MISS PAGE’S nod._] Pleased to meetcha! [_ANNIE crosses +over to her MOTHER and whispers distractedly in her ear._] + +MA FISHYER + +Ve ain’t finished our supper yet! Maybe it’s better I come ofer and see +yuh efter vile. + +MRS. FLOYD + +[_Not to be budged._] After while nuthin’! What did she say? + + [_PA FISHYER enters unnoticed, wiping his hands._] + +MA FISHYER + +[_Piteously._] Pleese, Mis’ Floyd, eny minute now ... Pa ... Pa comes.... + +MRS. FLOYD + +[_She thumbs towards ANNIE._] Did she say she wuz arrested? + +FISHYER + +Arrested! [_All look up in surprise. ANNIE cowers against the sink._] Who +vas arrested? + +MA FISHYER + +[_At bay._] Ach, Mis’ Floyd hass just been talkin’—er—no vitch vay to me, +h’aintcha, Mis’ Floyd? + +FISHYER + +Na—all right! [_He thunders at his wife._] But who vas arrested? + +MRS. FLOYD + +Who? [_Spitefully._] Well, Mr. Fishyer, a’course, it ain’t none of _my_ +business, _but_ seeing what good neighbors we been and how _pertic’ler_ +ya wuz to let me know that my son is a good-fer-nuthin’ loafer—I take +great pleasure ta letcha know that one of _yer_ swell family is, wuz or +will be arrested! + +FISHYER + +Vat? My family vat I bring up so strict? + +MRS. FLOYD + +[_She cackles derisively._] Uhuh! Ain’t it the limit? + +FISHYER + +[_Purpling with rage._] Who iss it? + +MA FISHYER + +[_Clinging to his arm._] Pa, pleese, ... P-Pa.... + +FISHYER + +[_He shakes her off._] Na, are yuh deef? Na—_who_ I say? + +MRS. FLOYD + +[_Vindictively._] Who else but yer Annie! + + [_ANNIE becomes deathly pale and shrinks against the wall Lower + Right._] + +FISHYER + +[_Turns furiously._] _Vat?_ + +MA FISHYER + +[_She thrusts herself between FISHYER and ANNIE. Frantically._] Mis’ +Page, Mis’ Page.... + +ANNIE + +[_Clasping her mother convulsively, whimpers._] M-ma! + +MISS PAGE + +[_Quickly._] There—there must be some mistake! Where did you hear this, +Mrs. Floyd? + +MRS. FLOYD + +Well ... a friend of mine went ta the Domestic Relation Court ta-day ta +see about that husband of her’n—a perfect brute.... + +FISHYER + +[_Impatiently._] Yeh, nefer mind about de brute! + +MRS. FLOYD + +And so I went along, because I been readin’ a dandy story about the +Morals Court—yeh know ... [_She winks to MISS PAGE as she thumbs in +ANNIE’S direction._] ... where them girls are taken ... anda so I sez ta +myself ... sez I ... + +FISHYER + +[_Exasperated._] Vat? + +MRS. FLOYD + +That’s what I’m comin’ ta. So I sez ta myself, I’ll visit the Morals +Court and see if them fellas from the papers tells the truth! [_FISHYER +almost beside himself with frenzy._] But I stayed so long with my friend +that the Judge wuz jest closin’ fer the day. _But_ who should I see +there—but Annie! + +FISHYER + +[_Choking with wrath, turns wildly with up-lifted fist towards ANNIE._] +Annie, come here! + +MA FISHYER + +[_Holding him back._] Don’t, Pa, pleese, don’t.... + +FISHYER + +[_Trying to loosen her hold._] Keep quiet! + +MISS PAGE + +[_Resolutely._] That isn’t anything at all, Mr. Fishyer! + +FISHYER + +[_Bellows._] Vat _more_ yuh vant, efter bringin’ up a girl so strict? + +MA FISHYER + +[_Screams in terror as she feels herself overpowered._] Pa, pleese, +P-pa.... + +FISHYER + +Vill yuh keep qviet! [_Furiously to ANNIE, whimpering in terror._] First, +I giff yuh someding to remember me by ... and den out off de _house_ yuh +go! + +MA FISHYER + +[_Fighting to hold him back._] N-no, Pa, don’t.... + +FISHYER + +[_Throwing her on the floor in front of table._] Get out off my vay, Ma! +[_He shouts enraged._] Annie, come here! Yuh hear me! [_He grasps her +left arm and jerks her towards him._] + +ANNIE + +[_Writhing in pain as he tightens his hold._] No—no! It’s—it’s a lie—a +lie.... + +MRS. FLOYD + +[_Rising in surprise._] Huh! + +ANNIE + +Yes, it is! [_She glares about her with the desperation of a trapped +animal._] Yes, it is! I—I wuz ... there ... [_She points sobbingly to +MISS PAGE._] ... with her! + +FISHYER + +Mit her? Mis’ Page? + +ANNIE + +[_Trying to loosen his grip._] Yes, I wuz helpin’ her carry her books ... +[_She nods to MRS. FLOYD._] ... when she musta seen me! + + [_MISS PAGE is startled at ANNIE’S lie._] + +FISHYER + +[_Tightening his cruel hold until she falls sobbing on her knees._] Vat +yuh mean? + +ANNIE + +[_The words fairly tumble from her twitching lips._] Mis’ Page works fer +de Judge—h-helps him.... And I often go to de court with h-her ... don’t +I, Mis’ Page? + + [_An agonizing second. MISS PAGE gives one glance at MA + FISHYER’S prostrated form on the floor and then rises to the + occasion._] + +MISS PAGE + +Yes! She’s _always_ there with me! + +ANNIE + +[_Sobs._] And—I been there lots of times, ain’t I, Mis’ Page? + + [_Quickly before MISS PAGE can reply, MA FISHYER thrusts + herself between PA FISHYER and ANNIE._] + +MA FISHYER + +[_Tries to separate his iron grip from ANNIE’S arm._] Yuh see, Pa? yuh +see? + +FISHYER + +[_To MISS PAGE, slightly mollified._] Ef she’s vid _yuh_, Mis’ ... dot’s +all right, den! [_Flings ANNIE and MA FISHYER from him. While MA FISHYER +tenderly kisses ANNIE’S arm he turns wrathfully towards MRS. FLOYD._] +_BUT!_ [_MRS. FLOYD, who seeing his intentions, scurries up the stairs._] +... Good-bye, Mis’ Floyd! [_Runs up the stairs and shouts after her._] +And next time yuh _look_ first before yuh jump! [_Crashes door after +her._] + + [_MA FISHYER is holding ANNIE tightly in her arms. Both are + weeping._] + +FISHYER + +So! [_Comes down stairs._] Dis should be a lesson for yuh, Annie! Yuh see +now vat maybe heppens ef I don’t bring yuh up so strict! [_Shakes fist +after MRS. FLOYD._] Dat cat vat just left might be in de right! + + [_EMIL re-enters and moves wonderingly towards sink._] + +MA FISHYER + +[_Her breath sobbing in her throat._] Y-yess, Pa, y-yess.... + +FISHYER + +[_Sternly flinging her away from ANNIE so that she falls into EMIL’S +arms._] Let her alone, Ma! Vat kind off bringin’ up is dot? [_To MISS +PAGE._] I tell yuh, Mis’, my fadder alvays said: “Order rules de vorld, +but _man_ iss ruled vid de _vhip!_” And he vas right! [_Glares at +ANNIE._] He ruled us vid a hand off iron! [_To MISS PAGE._] And look on +me! I haf de greatest respect for my fadder! [_Gives them all a menacing +look._] And I do de same! Alvays am I strict and ven dey grow old, dey’ll +tank me for it! + + [_He sits down at the table and motions EMIL to his seat again. + EMIL sidles into his chair guardedly. PA FISHYER begins his + meal, dipping his chunk of rye bread in the gravy. MISS PAGE + notices the looks of hatred darted at PA FISHYER by both ANNIE + and EMIL._] + +MISS PAGE + +[_Curiously._] And—did you love your father, Mr. Fishyer? + +FISHYER + +[_Taken aback._] Lofe? [_He stops with his coffee cup half-way._] Shure, +I lofe him ven I respect him! [_Grimly._] Huh! [_Cracking an imaginary +whip._] He’d made us dance to de muzik off de stick ef ve didn’t lofe +him! Shure.... [_He pauses._] ... Shure, de children alvays lofe ... +[_Fixes his eye on EMIL who immediately stops drinking his coffee._] ... +de fadder! + + [_EMIL draws back in consternation._] + +MISS PAGE + +[_Seeing the futility of the situation, turns thoughtfully to the sofa +for her gloves and purse._] Well, it’s late and I must be going! [_She +pauses a second in thought, then comes to a decision._] By the way, Mr. +Fishyer, would you mind if I take Annie with me? + +FISHYER + +Right avay? I vanted to giff her a good talkin’ to, yet! + +MISS PAGE + +[_Pulling on her gloves._] I’m so sorry, but I’m leaving for the country +early in the morning.... + +MA FISHYER + +[_Staring fixedly at MISS PAGE._] De c-country? + +MISS PAGE + +[_Smiling at her, very gently._] The _real_ country, Mrs. Fishyer! + +FISHYER + +[_He grunts, between mouthfuls._] Shure, mit yuh it’s all right! [_Over +his shoulder to ANNIE._] Put on yur tings, Annie! + + [_For a moment, while his back is turned, MA FISHYER crushes + ANNIE sobbingly to her breast, kissing her again and again._] + +ANNIE + +[_Covering her MOTHER’S tear-stained cheeks with kisses, she whispers +brokenly._] Don’t Ma, don’t, I’ll be good! I’ll be good! + +MA FISHYER + +[_Sobs, clinging to her._] Annie ... [_MISS PAGE, separating the two, +holds MA FISHYER tight in her arms._] Little Annie! + +MISS PAGE + +[_While ANNIE gets her coat and hat from the coat rack._] Good-bye, Mrs. +Fishyer, you needn’t worry! [_Looks sternly at PA FISHYER, unconcernedly, +eating his meal._] I’ll take good care of your Annie! + + [_MA FISHYER, unable to utter a word, leans over and kisses + MISS PAGE’S hand. MISS PAGE turns and mounts the stairs leading + to the areaway. As she opens the door, FISHYER looks up._] + +FISHYER + +Good-bye, Mis’, and ef she don’t behave herself ... [_ANNIE clings to +her. He balls his fist._] ... yuh just let me know! + +MISS PAGE + +[_Her arm protectingly around ANNIE, she eyes him, half sadly, half +ironically._] Yes, indeed! You’d be a _great_ help! + +FISHYER + +[_Nods his self-satisfaction and takes his second cupful of coffee._] +Shure! + + [_The curtain descends as MA FISHYER leans heavily against + EMIL’S chair, her eyes following the two disappearing through + the doorway._] + +CURTAIN + + + + +[Illustration: THE CAST OF “THE UNDERCURRENT” AT THE PALACE THEATRE, NEW +YORK CITY, JANUARY 20-26, 1929 + +Florence Thompson as Mrs. Floyd + +Harriet Allyn as Ma Fishyer + +Margaret Moore as Miss Page + +Curt Benisch as Pa Fishyer + +Charles J. White as Emil + +Gladys Pfeffer as Annie] + +[Illustration: SCENE DESIGN + +‘THE UNDERCURRENT’] + +[Illustration: LOS ANGELES, CALIFORNIA, OCTOBER 7-13, 1928] + +[Illustration: _LOS ANGELES EXAMINER_ OCTOBER 19, 1928 + +THE TURNING POINT + +GLADYS PFEFFER and CURT BENISCH in “The Undercurrent,” at the +Hillstreet.—(Drawing by Ellen Danar.)] + + + + +THE PRESS + + + + +THE PRESS + + +HOW YOUR MONEY HELPS + +The varied phases of an organization like the Albany Community Chest are +services that are difficult to illustrate in any vivid way to the public +that supports the philanthropy, and much of its praise must needs go +unsung, if not unhonored. + +Twenty-five per cent of the funds collected for the Chest are devoted +to extending and supporting social service that acts as a sort of human +adjuster in homes where things greatly need adjusting. The Chest can +claim a friend; one that is not directly propaganda for its work, in the +playlet, “The Undercurrent,” that is being acted at Proctor’s Grand. It +is the work of Miss Fay Ehlert of Chicago and reveals the value of a +woman social service worker in entering a squalid home where the father’s +domineering and brutalizing mind is driving his young daughter from the +home to possible disaster away from it. In fact, she is accused of theft, +and it is the understanding and sympathy of this social worker that +saves the girl. She tells a brave falsehood as to the girl’s previous +whereabouts and saves her thus from the wrath of the father. Then she +takes the girl with her to make the untruth come true in a finer and +more wholesome atmosphere for the girl. + +Probably Miss Ehlert has seen some such incident in service work in +Chicago. One could find it in any city and it is this unofficial court +of domestic relations that the Albany Community Chest partially supports +in its work of helping to make better citizens or to save normally good +citizens from demoralizing trends. + +“The Undercurrent” is a forceful and convincing illustration of the good +your money does when it is given to the Community Chest. + + —Editorial in _The Knickerbocker Press_, + Albany, N. Y., April 9, 1929. + + +THE THEATRE AND SOCIAL SERVICE + +In every city and town nowadays there is a social service organization, +or a group of unselfish citizens—usually women—devoted to the betterment +of home life among the poor, the ignorant and even lawless families. +It is work that requires infinite tact, patience and sympathy with the +sorrows and trials of unfortunate and unhappy families. In the great +cities the social service workers are often endowed organizations. In +small communities they depend upon the occasional and voluntary donations +of prosperous neighbors. The very confidential nature of the quiet +ministrations of the social service worker prevents the exploitation of +their achievements or the publication of their daily and nightly tasks in +detail. + +Many generous givers to this priceless cause may not realize how their +money is applied, how it helps not only the poor but also misguided +families in which cruelty, domestic misunderstanding and deceit are +making for the disruption of what should be happy homes. + +There is now touring the R-K-O vaudeville circuit, a one-act play called +“The Undercurrent,” which not only throws the searchlight of truth upon +the motives and deeds of the social service worker, but incidentally +illustrates how the theatre may exert a helpful influence towards the +extension and understanding of non-sectarian social service. + +This little play, written by Mrs. Fay Ehlert, wife of the Chilean Consul +in Chicago, and herself a social service worker, has been one of the +popular successes of major vaudeville in every theatre where it has been +presented. It is neither propaganda nor preachment, standing bravely upon +its own feet as a tense, tender and convincing record of unhappy family +life into which a wise and womanly social service friend is able to bring +peace and a large measure of happiness. The phenomenal popular success +of this dramatic sketch should impress practical theatrical producers +that they can exercise a powerful (and profitable) hand in helping to +save normally good citizens from demoralizing trends by presenting +true and compelling plays or sketches which demonstrate with dramatic +fidelity such incidents of life and service as those depicted in “The +Undercurrent.” + +Such a play, absorbing and timely in interest, not only designates the +special humanitarian deeds of such workers in social service, but also +informs the pleased audience how the money spent by the public in such +channels helps the unhappy without betraying confidences and without +boastful stories in the newspapers. + + —Floyd B. Scott in _The Magazine of Vaudeville_, + April 21, 1929. + + +A THEATRICAL VENTURE + +For some years American theatrical managers have defended their choice of +programs by pleading that they must give the public what it wants. Their +critics have replied that the managers have signally failed to understand +the public taste. They have backed up this assertion by pointing to the +astonishing growth in recent years of the Little Theatre movement. + +The amateur theatre is to-day not only holding its own against the +professional stage—it has actually begun to invade it. For evidence of +this one has only to cite the one-act play, “The Undercurrent,” by Fay +Ehlert, which heads the bill this week at the Orpheum Theatre. + +“The Undercurrent,” it may be recalled, was this year’s prize-winning +play of the Chicago Little Theatre tournament.... + +Arrangements were made under which the original cast should tour with +“The Undercurrent” during the summer recess. No attempt was to be made +to professionalize the production. All its fine amateur quality with its +refreshing freedom from conventionalized forms was to be retained.... + +What the venture may mean to the cause of good drama can be easily +foreseen. It will enlarge the scope and value of the Little Theatre +movement everywhere, and encourage the writing and presenting of more +and better dramatic sketches. It will cultivate and improve the public +taste and re-create public interest in the drama. And it will bring some +fine new blood into the acting profession. + + —Editorial in _The Winnipeg Tribune_, + Friday, August 24, 1928. + + +R-K-O WATCHING LITTLE THEATRE MOVEMENT + +President Brown of Radio-Keith-Orpheum Sends Scouts to Review and Secure +Best Playlet + +Hiram S. Brown, president of the Radio-Keith-Orpheum Vaudeville Circuit, +in order to encourage and acquire good short plays, dramatic sketches +and worthy one-act playlets, has advised local representatives to review +the tournaments and independent reproductions of the Little Theatre +movements, throughout the country. The immediate and continued success +of “The Undercurrent,” the prize-winner of the Chicago Little Theatre +tournament—now touring the R-K-O Circuit, has been so marked that Mr. +Brown and George A. Godfrey, chief of the booking department, have +determined to continue a plan of “prospecting” and developing other +products of the Little Theatre. + +“The Undercurrent,” after months of brilliant success, starting in +the R-K-O houses of Chicago, came East to further emphasize the fact +that vaudeville patrons are eager for this sort of innovation in their +favorite form of amusement. It played Keith’s Palace a short while ago, +and at the B. F. Keith Memorial Theatre, Boston, last week, this short +play became an immediate success with the Boston vaudeville public. + +A leading editorial (not a dramatic review) in the Boston Post says of it: + +“It is neither sensational nor flamboyant, but a burning human drama, +twenty minutes of thrilling suspense with a touching climax. There is +real hope for the legitimate drama when a vaudeville house makes a play +like this one a feature on the bill.” + +The original cast of “The Undercurrent” was made up of talented amateurs, +but its merits were obvious and proved to be exactly to the tastes and +preferences of every Vaudeville audience which has witnessed it. + +Radio-Keith-Orpheum now is “hot on the trail” of more dramatic one-acters +of like quality. + + —_The Magazine of Vaudeville_, Palace Theatre, + New York City, March 31, 1929. + + +IN A VAUDEVILLE PROGRAM + +One doesn’t expect to find a sermon in a vaudeville program. Yet one of +the most powerful sermons ever presented in Cheyenne was a feature of +the program of the Lincoln theater Thursday evening. It was Fay Ehlert’s +playlette, “The Undercurrent.” Too bad that every parent in Cheyenne +could not have seen that tabloid drama. To have done so would have been +wholesome for some, perhaps for many. The observation may be validly +applied in virtually every community of more than a few families. + +“The Undercurrent” is repulsive. It is brutal. It rasps the +sensibilities. It emphasizes excrutiatingly the significance of the +phrase “the truth hurts.” The hurting, however, the repulsiveness, the +brutality, are wholesome in effect. + +The little drama, the whole course of which is run in less time than is +required for presentation of one act of an ordinary play, deals with +a self-centered parent’s inability to understand that conceptions of +parental responsibility and authority which were forced on him in his +youth are incongruous and impossible in another environment and another +period. The effects of his blind wrath, which he regards as righteous, +make the observer shudder. + +The little play’s worth lies in that there is in many, many homes, some +taint of the immorally “moral” atmosphere which blighted the home which +the drama depicts. Generally, happily, this taint is slight, but it is, +nevertheless, a thing that may have dreadful consequences. To have the +fact called to attention is good for the soul. + +Mrs. Ehlert’s little masterpiece undoubtedly has sweetened the atmosphere +of many a home. + + —Editorial in _Wyoming State Tribune_, + October 26, 1928. + + +HOPE FOR THE THEATRE + +The work which the “Little Theatres” of the country are doing can best +be judged by the prize-winning play of the Chicago Little Theatre +Tournament, which is on the bill at Keith’s Memorial Theatre this +week. This play, “The Undercurrent,” written by Fay Ehlert, has had a +remarkable success. + +It is neither sensational nor flamboyant, but a burning human drama, 20 +minutes of thrilling suspense with a touching climax. There is a real +hope for the legitimate drama when a vaudeville house makes a play like +this one a feature of the bill. + + —Editorial in _The Boston Post_, + Monday, March 25, 1929. + + +WHAT ONE WOMAN DID + +When Mrs. Fay Ehlert brought “The Undercurrent” to Broadway a few weeks +ago, she proved that she had the courage of her convictions. So also did +the bookers—for playlets had not been in such good standing in major +vaudeville. In fact, there had been evinced a general disinclination to +book playlets of any kind, with special reference, of course, to those of +a serious nature. However, the critics upon reviewing “The Undercurrent” +during its run at the New York Palace were so enthusiastic that there +no longer was any doubt as to the way in which this particular play in +little was regarded by the critical fraternity and by those who do not +always agree with it—that is, our theatregoers. The bookers also showed +what they thought of the whole proceeding by freely routing the playlet +into the larger houses of the East. + +What particularly interested dramatic authors, however, was the fact +that “The Undercurrent” brought back, in some degree at least, the vogue +of the playlet, although, of course in the final analysis, the quality +of the dramalets presented by other writers must be the deciding element +in the decision as to the future of the playlet in vaudeville. At any +rate, the clever Mrs. Ehlert must be given credit for having written a +serious, one might almost say, sombre playlet so filled with the various +essentials of living and with characterizations so skillfully and +effectively drawn that she has turned the eyes of the critical in the +direction of a form of entertainment which had so long been unhonored and +unsung, and which seems at last to be coming into its own again. In other +words, it does not really seem to be a question of whether the public +wants serious playlets but of whether other scripts can be found that +contain the elements of humanity and the struggle against the fates as +shown so effectively and sympathetically in “The Undercurrent.” + +Fay Ehlert may be regarded somewhat as a female Christopher Columbus, who +has charted new seas and sailed into port with colors flying. + + —Editorial in _The Vaudeville News and New York Star_, + March 16, 1929. + + +“THE UNDERCURRENT” + +Thousands who saw and heard “The Undercurrent” at the Orpheum last week +were given an unforgettable lesson. Thousands more might hear it to +better advantage as time goes along and the country and society generally +would be better for it. In brief, a tyrannical father brow-beating wife +and children with rules of conduct even down to terrorism over the most +trivial incidents, substituted fear for love in the hearts in the home +circle. “Bring up a child in the way he should go” was his axiom which he +enforced with the big stick. The result was what might be expected where +the sublime note of the Nazarene, “Love one another,” was forgotten. A +social worker checking up a wayward child uncovered the misery of wife +and children and rescued the girl. + +We don’t know how far such rigidity in loveless homes extends. It does +not seem possible that father or mother could exert such tyranny. But +there is no question that the attitude which this sketch so powerfully +portrays is a serious factor in the making of society as it is to-day. +Suppression by force creates the situation that leads to an explosion +with disastrous results. This was the case not many years ago with the +Romanoff dynasty of Russia; it is the inevitable result in the nation, +the state and in the home. We do not doubt that dregs in the social scale +too often result from blind, unintelligent, inhuman tyranny in the home. +The Teacher of Nazareth certainly reminded the world of that when he said +of the commandments, “The greatest of these is love.” + + —Editorial in _Evening World Herald_, + Omaha, Neb., November 12, 1928. + + +THE AMATEUR ARRIVES + +At what stage in its development the tribe began to seek means of +collectively expressing itself must be left to the author of the “Golden +Bough” to determine. Rudyard Kipling, however, having made some slight +study of the organization of the Solutreans, arrived at the conclusion +that the modes adopted about the time the glacial ice began to retreat +from France and Great Britain were numerous and altogether sound. “There +are nine-and-sixty ways of composing tribal lays, and every single one of +them is right,” he observes. + +To-day the tribe still has its lays, but it calls them one-act plays by +amateurs. They are just as authentic as the lays of the Solutreans, but +the professional producer labors under the obsession that, whether there +are sixty-nine ways, or more, or less, of writing them, every single +one of them is wrong from the standpoint of the regular theatre. The +professional producer has a formula the substance of which is that a +play, to succeed, must be written to what is understood to be the order +of the audience. Certain things that will “get across” must be put into +it; certain others must be carefully excluded. So audiences listen year +after year to standardized productions, interspersed at rare intervals by +the works of the few men of genius who are strong enough to make their +own rules.... + +The amateur, therefore, is driven to the Little Theatre and this at +once effectually damns him in the eyes of professional producer and +professional critic alike. As a famous Chicago critic wrote, nothing that +is any good can come out of the Little Theatre, and it rather increases +its handicap if a playlet wins a prize in a Little Theatre contest. + +The impossible, however, has happened. A Little Theatre play has not only +won acceptance on the Orpheum Circuit but has become the head-liner. The +play is “The Undercurrent,” and it is astonishingly outside the limits +of the formula mentioned above. The author, Mrs. Fay Ehlert, owes her +first chance to enter the field in competition with the “regulars” to the +chairman of the circuit.... + +He was willing to try anything once, so he had it put on at a Sunday +matinée in Chicago, before the hardest possible audience. It was not +even set down on the bill for that first try-out. It was not only at the +disadvantage of being the curtain-raiser, but it was acted by amateurs, +students and professors of the Northwestern University, who, unaccustomed +to the auditorium, spoke in tones too low. Furthermore, it was a “sad” +play. In short, every element was present that seemed from the beginning +to preclude success.... + +But it succeeded as only one play in years succeeds. The hard-faced men +who attend Sunday afternoon performances in Chicago sat silent for a +moment when the curtain fell and then broke into tremendous applause, +giving the first of the series of repeated curtain-calls that was to mark +the subsequent progress of “The Undercurrent” on the Orpheum Circuit. +Localized as the action is in a city of the United States, and limited in +time almost to the moment, the playlet, nevertheless, contains elements +of universality that have made it as acceptable in Canada as across the +border. It was presented for the first time in Vancouver on Monday at +the Orpheum and is on the bill for the rest of the week. + +Criticism of the play as a play appears in another column of The Morning +Star. Suffice it to say here, that whatever its strictly dramatic value, +it demonstrates that the tribal lay is rightly written when it is so +written as to tell the tribal story, and without any design of effecting +specific reactions among its auditors. + +In other words, if the play, whether a one-act playlet or a drama +in three acts, truly interprets the tragedy and comedy of life, the +reactions will take care of themselves, the climaxes will come in their +natural places, and instead of a machine-made production, trim and neat, +a living thing will appear which its very excresences and awkwardnesses +will only make more vital. + +“The Undercurrent” will not be the last Little Theatre play to be billed +along with “sister acts” and song-and-dance features. The tribe is likely +to hear its own lays hereafter in the middle of the clearing. + + —Editorial in _The Morning Star_, + Vancouver, B. C., September 4, 1928. + + +IGNORANT MAKE VIRTUE A CRIME + +It is seldom that a vaudeville audience, or for that matter any other +audience, has an opportunity of seeing so perfect a piece of stagecraft +as “The Undercurrent,” which was shown last week at Nixon’s Grand Opera +House on the R-K-O circuit. + +The one-act play presented a vivid picture of life, the characters being +a brutal janitor and his brow-beaten wife, their son and daughter, a +mischievous neighbor and a social worker. + +The playlet showed many things. It showed how, in the hands of the +ignorant, virtue is transformed into a cruel crime. Pa Fishyer has a code +of good conduct which he instills into his family with blows and paternal +tyranny. The family is spiritually sick, and they fear and hate him. The +playlet is another evidence of growing self-consciousness and a return +visit would be more than welcome. + + —Editorial in _Philadelphia Daily News_, + March 18, 1929. + + +MRS. FAY EHLERT + +To-day, at 1 P.M., in Beury Auditorium, the author of “The Undercurrent,” +a one-act play, will address Temple University students under the +auspices of the Templayers. + +It is interesting to note that “The Undercurrent,” which Mrs. Fay Ehlert +submitted to the Little Theatre tournament in Chicago, won the Edith +Rockefeller McCormick cup, the first prize. What is even more interesting +and should arouse the investigation by students is that this playlet is +regarded by many critics as the greatest one-act production ever written. + +Temple students should avail themselves of this rare opportunity to +meet or listen to Mrs. Ehlert. There is no doubt that she will have a +message to give to her audience, especially that group interested in +contemporaneous dramatics. Occasions like this help to round up the +education of college students for they bring to the college speakers who +are in actual contact with authorities in the work-a-day practical world. + + —Editorial in _Temple University News_, + Philadelphia, Pa., March 8, 1929. + + +The thanks of a public extending far beyond the comparatively narrow +limits of vaudeville most assuredly will be heaped on President Hiram +S. Brown of R-K-O for his recent declaration in favor of stretching the +major circuit’s policy in regard to the one-act play.... + +Often, in fact much too often, the former administrations of the big time +have promised solemnly that they will boost the one-act play.... It has +almost reached the point, however, where the cry of “Wolf” has been given +too often. Yet, with the undisputed success of Fay Ehlert’s classic of a +one-acter, _The Undercurrent_, ringing in our ears, we can conceive of +the big time being really in earnest now to boost sketch material as it +has never been boosted before. After all, _The Undercurrent_ is making +money for R-K-O, and it is creating good will. Every movement needs its +leader. The dramatic sketch in vaudeville has one in Mrs. Ehlert and her +knockout of a sketch. + +Bringing the one-acter back to its old place in the vaudeville realm +will mean more to vaudeville (as vaudeville and not as an impersonal link +in a monopolistic chain) than any single factor we can think of at this +writing. The sketch fills a place that cannot be usurped by flash and +acrobatic acts and “whoopee” units. One can’t get away from the fact that +there has been something vitally lacking in vaudeville these last several +seasons while the sketch has been wearing the weeds as a grass widow, +divorced from its rightful mate, vaudeville. + +We like and heartily applaud Hi Brown’s publicized determination to boost +the one-acter. He can stop our little show any day in the week by proving +to us and all the others interested that he means what he says. + + —Editorial in _The Billboard_, + April 13, 1929. + + +THE THEATRE’S POWER + +One of the splendid examples of the excellent work by the “Little +Theatres” of this country is to be staged in Albany next week in Fay +Ehlert’s “The Undercurrent,” booked for the Grand. + +In these days of “whoopee” shows, canned music and celuloid thrillers +it is refreshing to find, of all places, in a vaudeville bill a burning +human drama that drives home a moral lesson, vividly and concisely and +makes one feel that the theatre is actually a force in the development +of American character. + +There is a real hope for the legitimate drama when a vaudeville house +makes a play like this one a feature of its bill. + + —Editorial in _The Albany Citizen_, + April 5, 1929. + + +THE UNDERCURRENT + +Ugyancsak nyitott szemmel kell a világban járni annak, aki a minden +szépitgetés nélküli reális életet akarja a szinpadra vinni a maga +kegyetlen, hideg és kiméletlen valóságában. A körülöttük mozgó zavaros +athmoszféra minden furcsaságát és szertelenségét legkevésbé azok +érzékelik, kik szenvedő alanyai az élet kisebb-nagyobb tragikumának. + +Más légkörben élő és tisztultabb erkölcsi érzékkel rendelkező egyének +képesek csak megérteni azokat a szenvedéseket és belőlük levonható +tanulságokat, mik az emberi erények és gyengeségek összeütközéséből +keletkeznek. + +A mindennapi élet soha meg nem szűnő apró tragikumait szinpadra csak +lehet vinni, ha azok a megszólalásig hüvisszatükröződései az életnek. +Máskülönben unalmas, szintelen és erőtlen a darab, mert apró drámák — kis +szenzációk. + +A nyomort, sőtétséget és emberi szenvedést megkapóbban Maxim Gorkijnál +senki sem tudta szinpadra vinni. Azonban Gorkij egy férfi volt, kinek +irányát követni csak férfiak merészelték, mert alacsonyabb lelki életet +élők világának tanulmányozására a gyengébb nem idegrendszere nem volt +berendezve. + +Azonban a modern nő lépést tart a férfiakkal és nem riad vissza olyan +problémák fejtegetésétől, mikre a tegnap nője még borzalommal gondolt +volna. Egy ilyen uttörő, modern nő Fay Ehlert, ki “Undercurrent” cimü +egy felvonásos drámájában merész kézzel, de érző szivvel tár elénk egy +mindennapi életképet, melynek milliőjét Gorkij sem választhatta volna +meg reálisabban. Ez az izigvérig modern nő megtalálja még a legsötétebb +környezetben is a jót és nemeset, az egyszerü külső alatt is finoman +érzékeny szivet, s a határtalan anyai szeretetnek és aggodalomnak +egyszerü keresetlen szavakban annyi melegseggel képes kifejezést adni, +hogy a közönség átérzi, sőt átéli a szeme előtt lejátszódó kis tragédia +minden fájdalmát. + + —Editorial in _Philadelphia I Függetlenség—Independence_, + March 15, 1929. + + +“THE UNDERCURRENT” + +Fay Ehlerts packende Skizze aus dem Leben. Zugstück in Keith’s Palace +Theater. + +Wer in ein Vaudeville-Theater geht, weiß meistens schon im voraus, +was er zu sehen bekommt. Manchmal wird man aber überrascht, angenehm +überrascht, wie diese Woche im Keith’s Palace Theater. Tanz und +Gesang rauschen an uns vorüber, auf einmal, plötzlich und unerwartet, +steht man mitten im Leben, draußen auf der Straße der Großstadt, oder +in der “Basement”-Küche eines Hausverwalters, des “Janitors” eines +amerikanischen Wohnhauses. Die Vorgänge in der Familie versetzen uns +in die rauhe Wirklichkeit. Der Vater glaubt seinen Erziehungspflichten +zu genügen, wenn er seine zwei Kinder, Annie und Emil, recht streng +behandelt, zu sklavischen Gehorsam erzieht, so wie man es “vordem” mit +ihm gemacht hat. Er erreicht aber gerade das Gegenteil. Die Mutter +erzittert in Furcht vor ihm, und die Kinder schlagen den falschen Weg +ein. Wir lesen so viel über Kindererziehung und modernes Familienleben, +hier ist ein-aktiges Drama, “The Undercurrent” von Fay Ehlert, das jeder +Vater und jede Mutter sich ansehen sollte. + +Dem wahren Leber entnommen, packt das Stück mit unwiderstehlicher +Gewalt und gibt jedem, den Vätern, Müttern, getreuen Nachbarn und +desgleichen, eine gute Lehre mit auf den Weg. Kein Wunder, daß das Haus +nach der Vorstellung in Beifallsstürme ausbrach und der Vorhang sich +achtmal hob und senkte, die Zuschauer im Theater sitzen blieben, um +das Stück ein zweites Mal zu sehen, während inzwischen draußen auf der +Straße die Schaulustigen in langen Reihen standen und ungeduldig auf +Einlaß warteten. Eine wunderbare Skizze, von Fay Ehlert den Tiefen des +Menschenherzens abgelauscht! + +Die Verfasserin hat das Stück selbst in Szene gesetzt und sich auch +hierbei als Künstlerin erwiesen. Gespielt wurde von den Vertretern der +verschiedenen Rollen mit staunenswerter Echtheit. Da muß zuerst Harriet +Allyn erwähnt werden, die in der Rolle der Mutter eigentlich einen +Charakter schuf, der im Theaterleben bis jetzt nur sehr selten zu +finden war, eine von Angst und Fürsorge für die Kinder und unterwürfigem +Gehorsam gegen den Mann zermürbte Frau. + +Die Unterströmung, die das ganze Stück durchzieht, ist das Wesen des +Vaters. Er hat die gute Absicht, seine Kinder ordentlich zu erziehen. +Manchmal fühlt man Mitleid mit dem Mann, der in seiner Unkenntnis der +menschlichen Psyche den Bogen allzustraff spannt. Wir könnten uns +keinen besseren Vertreter für die Rolle denken als Curt Benisch. Seine +verhaltene Wut, seine zurückgedämmte Kraft, das Bewußtsein, daß er +unbedingt recht handelt nach seinen Begriffen, das alles wußte Curt +Benisch in großem Künstlertum zum Ausdruck zu bringen. Die Zuschauer +saßen in nervöser Spannung, daß sein Temperament unerwartet auch über sie +hereinbrechen möchte. + +Fast ohne ein Wort zu sprechen, zeichnete Charles White den Sohn; in +Kostüm und Ausdruck durchaus lebenswahr wird die Tochter Annïe von Gladys +Pfeffer gespielt; die schwatzhafte, klatschsüchtige Nachbarin und das +versöhnende Element, die Wohlfahrtsdame, finden in Florence Thompson und +Ethel Swift geeignete Vertreter. Alles in allem: ein glänzendes Stück, +brillant inszeniert und ganz hervorragend gespielt. Hut ab! + + —_Wächter und Anzeiger_, + Cleveland, Ohio, December 12, 1928. + + +PRZEDSTAWIENIE SŁAWNEJ AUTORKI + +W naszem mieście będziemy mieli sposobność zobaczyć po raz pierwszy +sztukę p. t. “The Undercurrent,” napisaną przez Panią Fay Ehlert, żonę +Konsula tego kraju do Chile. Sztuka ta jest napisaną na tle życia +ubogiego stróża, mieszkającego w suterynie wraz z rodziną. + +Sztuka “The Undercurrent” spotkała się z wielu trudnościami i +przeszkodami, zanim dostała się na scenę. Wiadomem jest, jak nieraz +autor, bardzo utalentowany, pisze, pracuje z zaparciem siebie, wykończa +swoje dzieło w najlepszej myśli, w najlepszej wierze—i w końcu spotyka +się z zawodem, z trudnościami różnemi, zanim jego dzieło jest przyjęte +przez któregoś z dyrektorów teatralnych. Taki też los spotkał i Panią +Ehlert, która wszystkie siły swego talentu wytężała i pracowała nad +wykończeniem swej sztuki. Wiele by trzeba było poświęcić czesu, aby +opisać, jakie trudności miała Pani Ehlert, aby zwrócić uwagę któregoś z +impresarjów teatralnych na swą sztukę. Chodziła od jednego do drugiego +dyrektora i wszędzie spotykała się z odmową. Nie dała jednak za wygraną. +Wierząc mocno w gruntowną wartość swej pracy, swego dzieła—dopięła celu. +Na sztukę jej zwrócił uwagę jeden ze znawców, ocenił ją i wystawił na +scenie. + +Gdy pierwszy raz sztuka była odegrana, wywołała ona wielki entuzjazm +wśród publiczności.—Wszyscy dyrektorzy, którzy przedtem odmówili, +zauważyli, że popełnili wielki błąd i z żalem przyznali, że istotnie “The +Undercurrent” jest dziełem artystycznem w swym rodzaju, którego oni nie +umieli wpierw ocenić. + +Dobitnym dowodem zainteresowania się publiczności tą sztuką jest fakt, +że była ona grana od Kalifornji do New Yorku w pierwszorzędnych teatrach +około ośmset razy. + +Z końcem tego tygodnia, to jest we czwartek, piątek i sobotę, sztuka ta +jest wystawiana w teatrze Gaiety. + + —_Maria G. Gomolska_ in _Słowo Polskie_, + April 19, 1929. + + +HAIL THE PERFECT SKETCH! + +Our humble genuflexions to its author, and a thousand thanks on behalf of +all interested in the furtherance of the sketch in vaudeville to R-K-O +for heaping upon it the distinction of booking it into the Palace and the +choicest of its stands thruout the country. There may be better one-act +plays, but we haven’t seen them in vaudeville yet. The time may come; +real soon, we hope, if the big-time executives can be made to see that +vaudeville sorely needs sketches with even an iota of the merit of Mrs. +Ehlert’s brain child. In trade terms she has brought forth a Christ. As +it winds its way thru the various sections of the country it will preach +its mission, and who knows but at the end of its trail word will come of +converts to the Great Cause. With “The Undercurrent” swinging along—and +there’s no reason why it should not keep up its energetic pace for a +long, long time—the case for the dramatic sketch will be kept alive. Let +the protagonists of this form of vaudeville entertainment heat their iron +while the fire is hot. + +Mrs. Ehlert’s playlet is a paradox of homeliness and beauty, combining +these qualities in a homogeneous mass as it was permitted Abe Lincoln +to do. Its drabness is not cheap and sensational. It points no lucid +moral. Like those literary vignettes lately grown popular it presents to +us a moving, compelling slice of real-life action. It is left for the +spectator to draw his conclusions. Whatever they may be there are few of +normal intelligence who will not react emotionally and intellectually to +the problem presented by the plotless plot. + +We are introduced to a janitor’s hovel in the basement of an apartment +building. We see the bull-headed, ignorant father going thru the routine +of an evening in what he calls home. There is the warped, beaten and +loving mother; her dull, bullied son and the wayward daughter. A +slatternly neighbor comes into the scene and thru her we are introduced +into various angles of the family’s existence. Then enters a social +worker. The human drama is on. It burns with its frankness and compels +with its character drawing. We are made to see that the father, beaten +into a senseless bully by his own progenitor, is in turn deluded into +thinking that he is successful in beating doubtless virtue into his +offspring. The girl is by nature a good girl, but her father’s bullying +has driven her into the streets, and thence into the morals court. The +janitor prides himself on the hair-trigger control he possesses over +his children, but to those less blinded by their own ego the boy hates +him worse than rat poison, and the girl is fast being pushed to ruin. +The social worker is evidently on the scene in the nick of time, this +being incidentally the only vestige of a plot in the playlet. The father +is about to learn of his daughter’s police record from the blabbering +tongue of the neighbor when the lady of the upper strata concocts an +alibi and saves the girl from a volley of welts and punches. Miss Social +Worker takes the girl away from the cesspool—for good. As they are +leaving the janitor asks that he be informed if the girl gives her future +guardian trouble. Miss Social Worker’s parting shot, “You’d be a great +help!” brings down the curtain. + +We’ve said enough about the play. As for the cast, it is overwhelming +in its fitness. The bright and particular star, from our angle, is +Harriet Allyn. In her Ma Fishyer role she puts over a piece of character +portrayal that hasn’t been approached at the Palace since Lucille LaVerne +fried bacon in Sun Up. It won’t be long before the money boys nab her. +Curt Benisch, as Pa Fishyer, also gives a sensational performance. He’s +a tabloid of Gregory Ratoff—and to us that means as good as they come. +Gladys Pfeffer appeals mightily as the daughter, as does Charles White +as the son. In her brief bits Florence Thompson does a corking job of +the neighbor role. Margaret Moore was the least bit stiff in the social +worker’s part, but she’s excused on the ground that she’s a late addition +to the cast. Reception here went to six curtain calls and a show stop. + + —_Elias E. Sugarman_ in _The Billboard_, + February 2, 1929. + + +SUPERBILL OF VAUDEVILLE ON AT THE PALACE + +Despite handicaps well-nigh unsurmountable, “The Undercurrent,” a +one-act play by Fay Ehlert of Chicago, not only made good at the Palace +yesterday afternoon, but scored so decisively with the hard-boiled +initial matinee audience of experienced vaudeville-goers as to leap to a +headline position on an extraordinarily good bill—and that Palace Sunday +matinee audience is seldom stampeded by anybody. Beatrice Lillie, for +example, couldn’t get under its crust, nor Willie Collier, nor Florence +Reed, and if President Coolidge and King George should hook up as a +dancing team, they’d have to dance as well as Bill Robinson to get by. + +The handicaps “The Undercurrent” faced are these: + +(1) It originated in a “little theatre,” and good comes as seldom out of +the “little theatre” as out of Nazareth; + +(2) it won first prize in a Chicago “little theatre” tournament, the +Edith Rockefeller McCormick cup, than which nothing would seem to spell +surer damnation; + +(3) it is presented by the same group of Evanston “little theatre” actors +who played it originally, a handicap to be overcome only by a miracle. +The Orpheum circuit of experienced amusement purveyors felt all these +things so poignantly as to be constrained to offer an apology for giving +it a place on the hill—“encouragement of home talent,” “civic pride,” or +something like that. + +But “The Undercurrent” came through the ordeal with flying colors—and +despite another handicap probably rectified by now, namely: the players, +used to small halls, pitched their voices so low they were nearly lost in +the vastness of the Palace auditorium. + +“The Undercurrent” is a tense story of sordid tenement life—a sort of +an echo of “John Ferguson,” but not so much so as to rob Mrs. Ehlert +of the glory of an original plot. This plot has to do with a stern, +Bible-reading, iron-willed janitor who has brought up his children +in the way they should go, and whose daughter, escaping the stern +discipline of the home, becomes a street walker. The episode pictured +is the attempt of the daughter, her mother, and a social worker to keep +the God-fearing janitor from finding out what his daughter has done. The +plot is skillfully constructed, tense and explosive, and the acting is +astonishingly good. + +There is no severer test for a dramatic sketch than the song and dance +atmosphere of a vaudeville show, and “The Undercurrent” demonstrated +yesterday that it is at least three times as good as it must have seemed +in the “little theatre” tournament at the Goodman Theatre. + + —_C. J. Bulliet_ in _Chicago Evening Post_, + June 25, 1928. + + +Mrs. Ehlert’s play shows searchingly how a bigoted foreign father brings +ruin upon the happiness of his family by warping justice into injustice +through his fanatical method of administering it. It is a tense drama +packed with interest from start to finish. + +The cast, the same that won the contest, is playing it at the Palace and +giving an exceptionally fine performance, particularly C. Russell Small +as the father, and Harriet Allyn as the mother. Excellent also are Gladys +Pfeffer, Charles White, Ethel R. Swift and Helen Sanford. Over half a +dozen curtain calls attested to that fact that an unusual offering such +as this is a good piece of commercial “theatre” also. + + —_Fritz Blocki_ in _Chicago Evening American_, + Tuesday, June 26, 1928. + + +“It’s an excellent one-acter, sharp, sure, unexpectedly effective.” + + —_Robert Garland_ in _The New York Telegram_, + January 22, 1929. + + +“This drama, which is sponsored by the Radio-Keith-Albee corporation, is +an exceptionally fine contribution to the Vaudeville stage and far above +the average sketch. A capable cast interpreted the roles.” + + —_Julius Cohen_ in _Journal of Commerce_, + January, 22 1929. + + +“THE UNDERCURRENT” ACTED AT THE PALACE + +Chicago Little Theatre Prize Winning Play is Realistic + +“It is written sincerely and observantly, and tells its not overburdening +story with effective simplicity.” + + —_John Byram_ in _The New York Times_, + January 21, 1929. + + +“The author has captured the brutal atmosphere of a family in which the +father, a janitor, believes that his children can be made to love him by +continued mental and physical floggings, and has arranged the whole in a +few deft situations.” + + —_New York Herald-Tribune_, + January 22, 1929. + + +RADIO-KEITH-ORPHEUM PALACE TRACK + +Winners at a glance. + +1—“The Undercurrent” + +2—Barry & Whitlege + +3—Webb & Hay + +“It has been a long time since a sketch has been as well received at this +track as was “The Undercurrent” last Monday night. The fans received it +like money from home. Which proves that when a sketch is what it should +be, it will be as well received as any other act.... This sketch would be +good for a route, for it will play equally well anywhere.” + + —_Paul Sweinhart_ in _Zit’s_, + January 26, 1929. + + +MANHATTAN MADNESS + +“To get good sketches for vaudeville is difficult, for to tell a story in +15 minutes, a complete story with a dramatic climax and coherent plot, +gripping from beginning to end, requires exceedingly great skill. But +this is what Mrs. Fay Ehlert has accomplished in “The Undercurrent,” +at the Palace Theatre, after seven months’ touring over R-K-O time.... +Editorial comment has been showered on this terse little drama and it +never fails to grip each audience and cause tremendous applause.” + + —_Robert Coleman_ in _Daily Mirror_, + New York, N. Y., Monday, January 21, 1929. + + +NOBLE + +Our Noble Prize award for today: To Mrs. Fay Ehlert, authoress of “The +Undercurrent,” the Chicago Little Theater prize-winning skit, now a +feature of the Palace bill closing today, for its inherent entertaining +merits. + + —_Ohio State Journal_, + Columbus, November 28, 1928. + + +PALACE + +“The Undercurrent,” by Fay Ehlert, winner of the Edith Rockefeller +McCormick cup in the recent Little Theatre contest, was presented in the +four-spot. The play deals with a wayward daughter, Bible-reading father +from the old country, social worker from the morals court, gossip and a +brow-beaten mother and son. Whole family very much in awe of the stern +father of the “old school,” with the little skit packing a tremendous +wallop and holding the breaths of the house straight through from start +to finish.” + + —_Variety_, + June 27, 1928. + + +“The Undercurrent,” prize-winning play of the Chicago Little Theatre +tournament, was in third position, and upon conclusion took nine +curtains, none of which were begged. Harriett Allyn as a janitor’s wife, +Curt Benisch as her husband, and Florence Thompson as a neighbor, +brought to this arty dramatic sketch a talent which made it outstanding +and an act to be remembered.” + + —_Inside Facts of Stage and Screen_, + Los Angeles, Saturday, Oct. 13, 1928. + + +AT THE PALACE + +“Occupying an important spot at the Palace this week is a sketch +straightly dramatic and singularly different from the general run of +sketches.... A hideous cruel picture that Mrs. Ehlert has drawn with +no small amount of skill.... An extraordinarily sincere and effective +one-act play.” + + —_Jeffery Holmesdale_ in _The World_, + New York, January 22, 1929. + + +AT THE PALACE + +“This observer, who has sat and squirmed through many a dull playlet +on the Orpheum boards, found himself (with the rest of the audience) +vigorously applauding a one-acter that has not a laugh in it.... It is +heavily tragic, but so truly written and ably performed that it gripped +the attention of an audience that had expected the worst. The cast took +six curtain calls, an amazing thing for unknown players in an unknown +playlet. The play comes to New York after a similar success over the +whole R-K-O route, and if Vaudeville’s new moguls have any lingering +doubts that Palace audiences will appreciate worthy sketches, the +reception to Mrs. Ehlert’s work should clear their minds.” + + —_Carl Helm_ in _The New York Sun_, + January 22, 1929. + + +PLAYLET AIDS PALACE BILL + +Clever Sketch Tops Offering + +“If you can be thrilled by as perfectly written and presented a one-act +playlet as has ever been offered to a Vaudeville audience, the Palace +Theatre, where Fay Ehlert’s “The Undercurrent” is one of the chief +offerings on an excellent program, is the spot for that type of reaction +this week.... For its first New York showing the Palace Theatre was +selected. The Palace has many times shown a restlessness during dramatic +acts of this type. Sunday afternoon that same audience seemed to sit +spellbound. Mrs. Ehlert has not only shown herself a word-character +painter of ability, but she has also proved her adeptness in staging a +playlet which she has done herself.” + + —_H. David Strauss_ in _The Morning Telegraph_, + January 21, 1929. + + + + +LETTERS + + + + +LETTERS + + +GENERAL FEDERATION OF WOMEN’S CLUBS + +1928-1930 + + DEPARTMENT OF PUBLIC WELFARE + MRS. SAIDIE ORR-DUNBAR, CHAIRMAN + 310 FITZPATRICK BLOCK, PORTLAND, OREG. + + Division of Correction + MISS JULIA K. JAFFRAY, CHAIRMAN + 730 FIFTH AVE., NEW YORK, N. Y. + + PRESIDENT + MRS. JOHN F. SIPPEL + 307 ST. DUNSTAN’S ROAD, HOMELAND + BALTIMORE, MD. + + GENERAL HEADQUARTERS + 1734 N STREET, N. W. + WASHINGTON, D. C. + + MRS. VALENTINE B. FISHER + 707 TWELFTH STREET, BOULDER, COLO. + + MRS. B. F. WESTMORE + 716 OLD NATIONAL BANK BLDG., SPOKANE, WASH. + + May 13, 1929. + +MY DEAR MRS. EHLERT: + +May I congratulate you most heartily upon “The Undercurrent” which I saw +last Saturday night. It shows a very keen insight into “things as they +are”—everyone meaning well, everyone blundering and all grieving that a +young girl is going wrong. + +Not since Jean Webster in “Daddy Long Legs” interpreted the treatment +generally accorded to orphans have I seen as faithful and striking a +picture of the well-meaning forces which wreck young lives. + +I understand that the play is now available for amateurs and will do all +in my power to induce women’s clubs to present it. The results will be +telling! + +Can’t you take little Annie to a Woman’s Reformatory and in picturing her +life there show those of us dealing with reformatory problems where we +are falling short? + +Every good wish for continued success. + + Cordially yours, + + JULIA K. JAFFRAY + Chairman + + +NEW YORK STATE FEDERATION OF WOMEN’S CLUBS + + MRS. CHARLES, J. REEDER, President + 956 State Street, Carthage, N. Y. + + MEMBERSHIP 400,000 + ORGANIZED 1894 + + Department of Fine Arts + Division of Drama + MRS. EDMUND GALE JEWETT + 266 Washington Ave. Brooklyn, N. Y. + +MY DEAR MRS. EHLERT, + +I must congratulate you on your remarkable little play, “The +Undercurrent.” + +I saw it one afternoon recently and was so impressed by its unusualness +that I wanted my husband to see it with me, so I saw it again last night +with him. He felt about it just as I did. + +What a story it tells in that short time! The characters are so sharply +drawn. It is splendidly played. The effect on the audience was positively +electric last night. + +Audiences and their reactions are always of great interest to me. It +seems a real feat for you to have gotten this play into Vaudeville—and +yet how wise of Vaudeville. + +I believe amateurs could give “The Undercurrent” with satisfaction. + +It is a great little playlet, my dear Mrs. Ehlert. May it continue long +on its brilliantly successful way. + + Most sincerely, + + (Mrs. Edmund Gale) EUGENIE JEWETT + Chairman Division Drama, + Department Fine Arts, + N.Y.S.F.W.C. + +May the eleventh, 1929. + + + March 12, 1929. + + Mrs. Fay Ehlert, + Authoress, “The Undercurrent,” + The Roosevelt, + New York City. + +DEAR MRS. EHLERT: + +An urge impells me to say something regarding your play, “The +Undercurrent.” It is no inclination for flattery. It is not an ambition +to produce a sales-talk. This would be quite unnecessary since the +public is “sold” on your play. Nor are my remarks designed as an +advertising testimonial, stereotyped for renumeration. Most certainly, +you have received a multitude of voluntary comments which are highly +complimentary. Since I represent another field I will leave the critics +concern themselves with the dramaturgical art of the play. Had I the +time I would enjoy making a sociological study and analysis. By way of +substitution I am enclosing “Some Sociological Reflections” which are for +your encouragement. You may use them as you see fit. + + Yours in appreciation, + + HARRY F. WEBER, + Professor, Sociology of Histrionics. + + +SOME SOCIOLOGICAL REFLECTIONS UPON FAY EHLERT’S “THE UNDERCURRENT” + +By Dr. H. F. Weber, Prof. Sociology of Histrionics, Albright College, +Myerstown, Pa. + +Having an obsession for the sociological side of the drama-stage, I +recently went to the theatre to estimate this alert (Ehlert) play called +by the treacherous title, “The Undercurrent.” This current dragged me +into a janitor’s basement room where I eddied helplessly in a whirl of +life. Like the scoffer I staid to pray. Once I resisted the tow in an +effort to ascertain the effect upon the audience but their dazzling, +steady gaze stageward overcame me. This tabloid drama had blossomed into +the universality of life. Back in the basement I remained until a kind +curtain disenchanted me. My notebook was blank. It is easy to realize +why I speak of reflections rather than judgments, since my thoughts +came after rather than with the presentation. Yet I did not forfeit my +sensibilities even though my mind was in the play rather than upon it. +“In the basement” I experienced several splendid and pleasant surprises: + + 1. The difference between my reading of the script and seeing + the play. + + 2. That a play could be so “really real” and yet contain so + much idealism. + + 3. That such a situation did not turn out to be a burlesque + upon squalid life. + + 4. That the pornographic suggestion did not become obscene. + + 5. That so much of life could be concentrated into so small a + space and time. + + 6. That a play not written with a problematic motive could + touch upon so many social problems. + + 7. That the broken English dialogue could be made + understandable throughout. + + 8. That so serious a play would be taken so seriously by the + Vaudeville audience and so appropriate a part of the program. + +The title was correct. Society does have its undercurrent which drags +down helpless victims against their own efforts. The “plotless plot” +reveals still other paradoxes: + + 1. Severe Sincerity. + + 2. Homely Beauty. + + 3. White Lie Truthfulness. + + 4. Cesspool Home. + + 5. Bitter Righteousness. + + 6. Forced Love. + + 7. Harsh Charity. + + 8. Homeward Waywardness. + + 9. Hereditary Environment. + + 10. Superior Inferiority. + + 11. American Immigrant. + +The lesson-seekers as reformers, ministers, judges, educators, +social workers, parents, sexologists, humanitarianists, eugenicists, +euthenicists, and mere conversationalists can find innumerable “morals” +hovering about each one of the characters of the play: + + 1. The thick-headed, self-centered, sincere, father; + + Domination of father, Harsh idealism from ancestors, + Puritanism, Relation of parent to offspring, The immigrant in + America, Old World views in the New World. + + 2. The long-suffering, helpless, warped, beaten, loving mother; + + Mother love, Dominated Womanhood, Equality of the sexes. + + 3. The dull, bullied, shut-in, son; + + Stifled personality, crushed individuality, Child guidance, + Repression, The right to be well born, Child labor. + + 4. The good, wayward daughter; + + The Revolt of Youth, Social vice, Fallen women, Double standard + of morals, Conditions of working girls, Drawing power of + mother love, Influence of associates. + + 5. The nosey, spiteful, slatternly neighbor; + + Intruding, meddling neighbors, jealousy, gossip, Keeping up + (down) with the Joneses, “Flat ethics and etiquette.” + + 6. The court investigating, social worker; + + Usefulness and necessity of the social worker, Solving cases + of maladjustment, The milk of human kindness, Probation for + innocent offenders, Not letter but spirit of the law, Not rules + but common sense, Uncharitable charity. + + 7. The family in general; + + How the other half lives, Appreciation for blessings, + Over-strict home life, Depressing slum environment, Ignorance, + Poverty, Unemployment, Living wage, Standard of living, Equal + opportunity, Ossification of society, The melting pot,— + +But I must cease this vivisection or the play will be played out. It +must not be torn into such small bits. Let it suffice to say that there +is something in it for everyone and he who listens can hear between +the lines. The play’s value cannot be measured by the response from +the chairs. “The Undercurrent” grips. The audience when scattered will +remember it long after the best vaudeville joke is forgotten. The +longer the memory the “gripper” the Undercurrent. The blighted home +depicted will help to soften the atmosphere of the audient’s own home, +which heretofore however slight may have been tainted unwittingly by an +undercurrent. + +Perhaps then, the little masterpiece, in vaudeville called a sketch, +does have a purpose. A discovery of it will have more sociological +significance than for play-building technique. In the restricted sense of +the latter there is no author’s “moral.” It does not present propaganda. +Yet the vaudeville audience is bound to carry away a meaning. + +Harlow in his “Growth of United States” writes, “Perfectly simple ideas, +boldly stated and constantly reiterated, if given wide circulation, no +matter whether they are truth or falsehood, have a powerful fascination +for the majority of mankind.” Just as the vaudeville stage is the feeder +for all branches of amusement the vaudeville audience represents the +most varied cross-section of society, and permeates itself through it. +The vaudevillean by his “catch-phrases and wise-cracks” determines +many social attitudes for his clients across the foot-lights. They, in +turn picking up these “cleverisms,” pass them on to their fellowmen as +illuminating truths (modern proverbs). + +It certainly must mean the elevation of social standards when “The +Undercurrent” gets a hearing. It has a personality—when this human drama +is on it corrals the emotions by its characterization, frankness, and +reality. Like the best personalities it is contagious, makes others +wish to hover near it, imitate it, admire it. In spite of proffering +no solution to the many problems which it suggests, the audience goes +away with the resolution that things must go better in the future. Out +of the despair of this effective simple story arises hope. Although +little ratiocination there will be contemplation. Perhaps few will be +transformed into saints but many will become more human. + +All personality being elusive, it is difficult to determine from where +the personality of this deft sketch comes,—the cast? the setting? the +lines? the action? perhaps the author! One can be a little more certain +where it goes. This will locate a purpose, hopefully the purpose. “The +Undercurrent” audience senses the motive, “Life; not as a strange +interlude of many excruciating acts, not as a morbid mundanity of an +isolated act, but as mortal activity flavored with sympathy.” The spirit +of pity is propagated. Not that it is unfortunate to be compelled to live +but that no one should be compelled to live unfortunately. Briefer stated +this suggests “the more abundant life for all.” + +The playlet with its clamorous reception as the sketch supreme appears to +be prophetic of: + + 1. Better interhuman relationships. + + 2. Social values in a mechanistic standardized age. + + 3. Changes in the Drama-Stage; New things in vaudeville, + Western inroads upon “Broadway,” Conquest by the amateur. + + +SOME UNSURPASSED STUDENT IMPRESSIONS + +In order to broaden the range of reaction, “The Undercurrent” was brought +before the unsuspecting class in the Sociology of Histrionics. This +course has as its objective the sociological study of the drama-stage. +None of the class had heard of the play or its author. No effort was +made to arouse enthusiasm or to laud its merits, in fact quite the +reverse. Eliminating the preliminary description and the directions for +characterization, the script was read once in a monotone. Without further +information or class discussion each student was asked to write upon +scratch paper his or her opinion, especially including adverse criticism. +They were given to understand that their papers would not be read in +class or have any bearing upon their grades. No indication disclosed +what use might be made of these impressions. The results under these +handicaps are quite startling. The following extracts were made without +the students’ knowledge or permission. + +The extremist of the class objected to the play as having no plot, a +boresome foreign accent, a repulsive situation, a danger of tempting +people to imitate that kind of life, better for children than adults, and +that anyone who could appreciate such a play would have no capacity for +good tragedy. + +However the consensus of opinion of the class was quite different. One +of the ladies felt, “The lesson taught by the play seemed to be the +outstanding thing, the fact that the man was so wrong and yet could quote +scripture to prove his point.... We can all easily become friends of the +girl Annie, and pity her plight, especially when we know it is so true +to life as we have heard of it. I do not like to bring the hardness and +cruelty of life in its treatment of some people to everyone and as I have +no better method to suggest—of bringing it before someone who might be +able to help remedy the condition, I would not try to stop these plays. +The characters are very vividly portrayed, particularly the father’s. +When his lines were being read I suffered the reaction of wanting to stop +them, to change it; I didn’t want to hear it any further without doing +something to that man. For this type of play I think it very good.” + +Quotations from other students follow: + +“The play was suggestive of many things and many purposes.” + +“The play emphasized the fact that real strict parents create in their +children hate and fear instead of love for them.” + +“It gives us an idea of the life one leads in a flat. The father was so +cruel in his way of bringing up his children—they did not have a chance +to speak for themselves. The social workers of the day can help children +in such predicaments. It would also help children that have life easy and +to appreciate the advantages they have.” + +“It was written for amusement and also to show the good many are doing on +the streets of large cities for the fallen people. The author had in mind +to make the parents, who saw or read the play, pay more attention and +spend more educating time with them.” + +“Evidently the play is meant to bring out the fact that home environment +and discipline has a great influence upon youth, and a home in which the +young are so repressed, directed and curbed, the influence is liable +to be a negative one.... The most difficult cases the social worker +has to deal with are these.... The selfishness, strictness, blindness, +and one-track-minds of parents are responsible for much of youthful +delinquency and disgrace.” + +“A problem play to teach the effect of home life and conditions on the +child’s life and behavior. Introduces somewhat secondarily the work and +place of the Morals Courts, which investigate the environment for the +possible causes of crimes. Portrays living conditions of the ignorant and +poverty-stricken class.... The play teaches its lesson.... An indirect +method frequently is more successful than one whose purpose is known by +all concerned.” + +“Training a child in the way he should go may be a good proverb, but +it is not a wise plan to scare children into lying and leaving home, +associating with wrong companions and thus getting into trouble.... It’s +a good play and many instances just like it occur nowadays.... The mother +certainly realized what should be done.” + +And lastly will be given the unedited report of one who seemed +indifferent during the single reading of the play: + +“The play was interesting. It portrayed or was typical of the life it +portrayed; that is, the slums. I had a vivid picture of the house and +clear impression of the father in his burly way. The characters were well +written. It was a good “unwritten” character sketch. You could easily +judge or tell what type of characters they were. The plot was very simple +but I think incompleted. The play was well named. We should have more +of those type of plays because so many people do not realize how some +people do exist. Of course there are some who would refuse to believe it +but then it wouldn’t do any harm for them to be informed. The type of +play to have are those true to life. Too many plays do not acquaint us +with actual life and we are disillusioned. The ‘ma’ and ‘pa’ type are so +frequent in the foreign element of our country that it is astounding. I +like the dialect because if we are at all broad we will run across people +who speak as they spoke and we should be able to understand. Some people +are bored by those plays. I think they lack appreciation.” + + + + +*** END OF THE PROJECT GUTENBERG EBOOK 78852 *** diff --git a/78852-h/78852-h.htm b/78852-h/78852-h.htm new file mode 100644 index 0000000..5a78fed --- /dev/null +++ b/78852-h/78852-h.htm @@ -0,0 +1,4020 @@ +<!DOCTYPE html> +<html lang="en"> +<head> + <meta charset="UTF-8"> + <title> + The undercurrent | Project Gutenberg + </title> + <link rel="icon" href="images/cover.jpg" type="image/x-cover"> + <style> + +a { + text-decoration: none; +} + +body { + margin-left: 10%; + margin-right: 10%; +} + +h1,h2,h3,h4 { + text-align: center; + clear: both; +} + +h2.nobreak { + page-break-before: avoid; +} + +hr.chap { + margin-top: 2em; + margin-bottom: 2em; + clear: both; + width: 65%; + margin-left: 17.5%; + margin-right: 17.5%; +} + +img.w100 { + width: 100%; +} + +div.chapter { + page-break-before: always; +} + +p { + margin-top: 0.5em; + text-align: justify; + margin-bottom: 0.5em; + text-indent: 1em; +} + +table { + margin: 1em auto 1em auto; + max-width: 40em; + border-collapse: collapse; +} + +td { + padding-left: 2.25em; + padding-right: 0.25em; + vertical-align: top; + text-indent: -2em; + text-align: justify; +} + +.tdr { + text-align: right; +} + +blockquote { + margin: 1.5em 10%; +} + +.center { + text-align: center; + text-indent: 0; +} + +.dedication { + text-align: center; + text-indent: 0; + line-height: 1.8; + margin: 3em auto; +} + +.direction p { + margin-left: 20%; + padding-left: 2em; + text-indent: -2em; +} + +figcaption p { + text-align: center; + margin-bottom: 1em; + font-size: 90%; + text-indent: 0; +} + +.figcenter { + margin: auto; + text-align: center; +} + +.hanging { + padding-left: 2em; + text-indent: -2em; +} + +.larger { + font-size: 150%; +} + +.mt2 { + margin-top: 2em; +} + +.noindent { + text-indent: 0; +} + +.noindent2 { + padding-left: 1em; + text-indent: 0; +} + +.pagenum { + position: absolute; + right: 4%; + font-size: smaller; + text-align: right; + font-style: normal; +} + +.right { + text-align: right; +} + +.smaller { + font-size: 80%; +} + +.smcap { + font-variant: small-caps; + font-style: normal; +} + +.allsmcap { + font-variant: small-caps; + font-style: normal; + text-transform: lowercase; +} + +.speaker { + text-align: center; + text-indent: 0; + margin-top: 1.5em; +} + +.titlepage { + text-align: center; + margin-top: 3em; + text-indent: 0; +} + +.x-ebookmaker img { + max-width: 100%; + width: auto; + height: auto; +} + +.x-ebookmaker blockquote { + margin: 1.5em 5%; +} + +/* Illustration classes */ +.illowp50 {width: 50%;} +.x-ebookmaker .illowp50 {width: 100%;} +.illowp64 {width: 64%;} +.x-ebookmaker .illowp64 {width: 100%;} +.illowp48 {width: 48%;} +.x-ebookmaker .illowp48 {width: 100%;} +.illowp100 {width: 100%;} +.illowp42 {width: 42%;} +.x-ebookmaker .illowp42 {width: 100%;} + </style> + </head> + +<body> +<div style='text-align:center'>*** START OF THE PROJECT GUTENBERG EBOOK 78852 ***</div> + +<main> + +<p><span class="pagenum" id="Page_i">[i]</span></p> + +<h1>THE UNDERCURRENT</h1> + +<hr class="chap x-ebookmaker-drop" aria-hidden="true"> + +<p><span class="pagenum" id="Page_ii">[ii]</span></p> + +<figure class="figcenter illowp50" id="illus1" style="max-width: 29.6875em;"> + <img class="w100" src="images/illus1.jpg" alt=""> + <figcaption> + <p><span class="smcap">Fay Ehlert</span></p> + </figcaption> +</figure> + +<p><span class="pagenum" id="Page_iii">[iii]</span></p> + +<hr class="chap x-ebookmaker-drop" aria-hidden="true"> + +<div class="chapter"> + +<p class="titlepage larger">THE UNDERCURRENT</p> + +</div> + +<p class="center"><i>A One Act Play</i></p> + +<p class="titlepage"><span class="smaller">BY</span><br> +FAY EHLERT</p> + +<p class="titlepage"><span class="smaller">PREFACE BY</span><br> +JOHN POLLOCK</p> + +<figure class="figcenter titlepage illowp64" id="tp-deco" style="max-width: 9.375em;"> + <img class="w100" src="images/tp-deco.jpg" alt="" data-role="presentation"> +</figure> + +<p class="titlepage">SAMUEL FRENCH</p> + +<p class="center"><span class="smaller">Thos. R. Edwards Managing Director</span><br> +NEW YORK LOS ANGELES</p> + +<p class="center"><span class="smcap">SAMUEL FRENCH Ltd.</span> LONDON<br> +1929</p> + +<hr class="chap x-ebookmaker-drop" aria-hidden="true"> + +<div class="chapter"> + +<p><span class="pagenum" id="Page_iv">[iv]</span></p> + +<h2 class="nobreak" id="ALL_RIGHTS_RESERVED"><i>ALL RIGHTS RESERVED</i></h2> + +</div> + +<p class="center">Copyright 1928 by The Drama Magazine</p> + +<p class="center">First Revision copyright 1929 by Fay Ehlert</p> + +<p class="center">International copyright 1929 by Fay Ehlert</p> + +<p class="noindent"><i>CAUTION: Professionals and amateurs are hereby +warned that “THE UNDERCURRENT,” being fully +protected under the copyright laws of the United +States of America, the British Empire, including the +Dominion of Canada, and all other countries of the +Copyright Union, is subject to a royalty. All rights, +including professional, amateur, motion pictures, +recitation, public reading, radio broadcasting, and +the rights of translation into foreign languages are +strictly reserved. In its present form this play is +dedicated to the reading public only. All inquiries, +regarding this play should be addressed +to Samuel French, 25 West 45th +Street, New York, N. Y. Available for amateurs +in restricted territory only. Royalty +will be quoted for those cities or towns +where it may be presented by amateurs +upon application to Samuel French.</i></p> + +<p class="center">MANUFACTURED IN THE UNITED STATES OF AMERICA<br> +BY THE VAIL-BALLOU PRESS, INC., BINGHAMTON, N. Y.</p> + +<p><span class="pagenum" id="Page_v">[v]</span></p> + +<hr class="chap x-ebookmaker-drop" aria-hidden="true"> + +<div class="chapter"> + +<p><span class="pagenum" id="Page_vi">[vi]</span></p> + +<p class="dedication"><i>Dedicated in appreciation</i><br> +<br> +<span class="allsmcap">TO</span><br> +MORT SINGER<br> +BEN J. PIAZZA<br> +<br> +<span class="allsmcap">THROUGH WHOM “THE UNDERCURRENT”<br> +FOUND ITS WAY TO THE PROFESSIONAL<br> +STAGE</span></p> + +</div> + +<hr class="chap x-ebookmaker-drop" aria-hidden="true"> + +<div class="chapter"> + +<p><span class="pagenum" id="Page_vii">[vii]</span></p> + +<h2 class="nobreak" id="FOREWORD">FOREWORD</h2> + +</div> + +<p>“The Undercurrent” is a page from life’s drama. +From the very beginning—in the days when I +haunted the Morals Court, the Domestic Relation +Court and the Psychopathic Laboratory, I have always +been drawn to our countless Annies, beaten, +swept along, vague about everything in life—even +their destination. And never have I found it in my +heart to blame them for their plight. Sometimes people +have said to me: “But Mrs. Ehlert, you can’t tell +me that this girl doesn’t realize she is doing <em>wrong</em>! +She knows better than to—” And I have always +pleaded: “Please don’t say a word against her, please +don’t! Perhaps, if we were in her shoes, we might +be ten times worse than she! You never can tell by +looking at a person, what undercurrent may be +sweeping her along!”</p> + +<p>And that is how I came to write this playlet. I +took a typical Annie, one that you can find on any +street, and thought: “Now, why is she a little street +walker? What has been the cause? What may be the +undercurrent in <em>her</em> life? What has brought her into +the court?”</p> + +<p><span class="pagenum" id="Page_viii">[viii]</span></p> + +<p>I didn’t want to preach or teach a lesson. I simply +wished to bring <em>real life</em> before audiences; something +vital to make them think; to make them more +sympathetic in their judgments of others, whether +they were “Annies” or “Pa Fishyers.” And the results +of my experiment have touched me deeply.</p> + +<p>Since our first performance, never have we failed +to grip our audiences, to tug at their heartstrings. +And these audiences have come from all walks of +life, from the highest to the lowest; from women’s +clubs, social agencies, churches, charitable organizations, +Little Theatres, courts, banks, stores and factories. +Not a week passes but we are conscious of the +effect our playlet is having upon the lives of others. +From the scraggly bouquet of flowers sent over the +footlights in Los Angeles with those laboriously +scrawled lines: “From one whats got a husband like +that” to the ring which a well-groomed Brooklyn +woman insisted upon giving me with tears in her +eyes, a little silver ring which she had worn on a +black velvet ribbon ever since her granddaughter’s +death.</p> + +<p>And our audiences have not been the only ones to +receive us with outstretched hands! Coming into a +new world, strange and foreign to us, I don’t know +what we should have done had not hundreds of +hands reached out to help us along. And these +<span class="pagenum" id="Page_ix">[ix]</span>friendly gestures came from the members of the +Radio-Keith-Orpheum Circuit, from the theatre +managers and their staffs, and from the professional +players on the bills with us. I wish to thank them +again and again for the personal interest they took +in our playlet and their unselfish efforts in our behalf.</p> + +<p>It would be impossible for me to mention every +individual and institution who graciously helped me +launch my playlet on its career, but I would feel very +ungrateful were I not to name: Frank Harris, Theodore +B. Hinckley, John Vandervoort Sloan, C. J. +Bulliet, James Gray, Frank Moneyhun, Fritz Blocki, +Katherine Graham, Dr. George Scherger, Mary A. +Blood, Edith S. Lueders, Mrs. John B. Boddie, Alice +C. D. Riley, Ethel Rogers Swift, Bertha E. Burrill, +Helen Sanford, C. Russell Small, May Kronan, Jennie +Swanson, Caroline Cooper, the Columbia College +of Expression, the University of Chicago, The +Town and Gown Playshop of Northwestern University, +the Evanston Woman’s Club and the Drama +League of Chicago.</p> + +<p>As for my untiring cast, their devotion and loyalty +to “The Undercurrent” has become almost a by-word +in the theatrical world. What would I have +done without their assistance? My “six starlets”—God +bless them!</p> + +<p><span class="pagenum" id="Page_x">[x]</span></p> + +<p>And finally, I wish to thank those who in a great +measure are responsible for the success of “The Undercurrent,” +the press in America and Canada, and +the theatrical publications, The Billboard, Inside +Facts, The National Vaudeville News, Variety, Zit’s, +and last but not least Samuel French, who is publishing +“The Undercurrent.”</p> + +<hr class="chap x-ebookmaker-drop" aria-hidden="true"> + +<div class="chapter"> + +<p><span class="pagenum" id="Page_xi">[xi]</span></p> + +<h2 class="nobreak" id="PREFACE">PREFACE</h2> + +</div> + +<p>The one-act play became a theatrical outcast. The +waif roamed from door to door but no one bid the +poor thing enter. Since the very beginning when +Voltaire wrote and played short pieces for the +Princes of France—pieces of that nature have encountered +innumerable difficulties. They were always +appendages of some sort or other. The going +was particularly hard in America, until vaudeville +and the Little Theatre provided a home for the tabloid +play. Then the short dramatic works of eminent +authors came into their own. Such writers as Barrie +and Synge and Dunsany and Zangwell gave as +much to the one-act play as they did to their longer +efforts or novels. But the supply did not equal the +demand. Everybody began to write one-act plays and +soon they had deteriorated to the extent that there +was no public for them.</p> + +<p>The Little Theatre, having outgrown its babyhood, +considered short plays beneath their dignity. +Vaudeville discarded them almost entirely. The waif +of the theatre became a wanderer, but just as the +<span class="pagenum" id="Page_xii">[xii]</span>wanderer was about to curl up in some dark corner +and expire, “The Undercurrent” put in an appearance.</p> + +<p>For the first time in years, an author had taken +the one-act play seriously, attempted to write a piece +of dramatic literature that as far as technique was +concerned and drama was concerned, was as complete +and as much an entirety as the play intended +for a full evening’s entertainment.</p> + +<p>“The Undercurrent” was not the work of an +established author. Writers of that ilk had been +weaned away from the short play and would have +nothing to do with it. Schools and colleges of course +were paying considerable attention to the one-act +play, but as the kindergarten of playwriting. The +very first step in the course and to be abandoned just +as the alphabet and spelling book make way for +more advanced studies.</p> + +<p>When Mrs. Fay Ehlert announced that the one-act +play to her mind deserved serious consideration, +she was laughed at, but Mrs. Ehlert is not the kind +of a woman who may be laughed at with impunity. +She not only stuck to her guns, but determined to +prove the accuracy of her marksmanship.</p> + +<p>“The Undercurrent” was the result. Writing a +short play that treated a serious thought seriously; +one that transposed a slice of actual life to paper +<span class="pagenum" id="Page_xiii">[xiii]</span>and the stage in an interesting, virile and vital manner, +was the least of her difficulties. Having written +such an opus her real troubles began.</p> + +<p>“The Undercurrent” found no ready and waiting +“welcome on any mat.” It went from one door +to another, only to find no latch string hanging out. +Mrs. Ehlert was schooled in diplomacy. She is the +wife of a Chilean Consul. Patience therefore was one +of her many assets. She waited but worked as she +waited; and finally succeeded in having “The Undercurrent” +entered in the Chicago Little Theatre +Tournament of 1928. The rest is a matter of history. +“The Undercurrent” won first award. Seldom, if +ever before, has a one-act play been in such great +demand. And this is as it should be, for certainly +not since the short play bowed out of the dramatic +picture, no one has written a better, more interesting, +or more entertaining playlet than this one.</p> + +<p>Vaudeville, always quick to take advantage of +opportunity, swept down on “The Undercurrent” +like an eagle with the result that the longest consecutive +tour ever arranged for any act went to this one +of the “untouchables.”</p> + +<p>Little Theatres and the innumerable societies who +produced plays for social and educational purposes, +insisted that they be allowed to present “The Undercurrent.”</p> + +<p><span class="pagenum" id="Page_xiv">[xiv]</span></p> + +<p>Mrs. Ehlert, both because of her ability as a writer +and her belief in the fact that drama is drama, regardless +of its length, has done a big thing not only +for herself but for the theatres in general. She has +rekindled an interest in the short play. She has reestablished +a public for the short play. She has demonstrated +beyond the shadow of a doubt that even a +miscellaneous audience appreciates something really +worth while. She has reopened a road that will undoubtedly +be traveled by many followers.</p> + +<p>The one-act play has again come into its own. +Because of Mrs. Ehlert and “The Undercurrent” the +serious one-act play will again command the attention +of established writers. There will again be a +place for its presentation, and what is of even greater +importance, is the fact that probably no longer will +the one-act play be considered a proving ground for +better things. “The Undercurrent” has turned the +tide.</p> + +<p class="right"><span class="smcap">John Pollock</span></p> + +<hr class="chap x-ebookmaker-drop" aria-hidden="true"> + +<div class="chapter"> + +<p>“The Undercurrent,” winner of The Drama League +Cup at the Chicago Little Theatre Tournament, May +1928, was presented by the Town and Gown Play Shop +of Northwestern University.</p> + +<p class="mt2">The following is the cast of “The Undercurrent” upon +its first professional appearance at the Palace Theatre, +Chicago, June 24th, 1928.</p> + +</div> + +<table> + <tr> + <td><span class="smcap">Pa Fishyer</span></td> + <td class="tdr"><i>C. Russell Small</i></td> + </tr> + <tr> + <td><span class="smcap">Ma Fishyer</span></td> + <td class="tdr"><i>Harriet Allyn</i></td> + </tr> + <tr> + <td><span class="smcap">Annie</span>, their daughter</td> + <td class="tdr"><i>Gladys Pfeffer</i></td> + </tr> + <tr> + <td><span class="smcap">Emil</span>, their son</td> + <td class="tdr"><i>Charles White</i></td> + </tr> + <tr> + <td><span class="smcap">Mrs. Floyd</span>, a neighbor</td> + <td class="tdr"><i>Helen Sanford</i></td> + </tr> + <tr> + <td><span class="smcap">Miss Page</span>, a social worker</td> + <td class="tdr"><i>Ethel Rogers Swift</i></td> + </tr> + <tr> + <td> </td> + <td> </td> + </tr> + <tr> + <td>Time: The Present</td> + <td class="tdr">Place: New York City</td> + </tr> +</table> + +<hr class="chap x-ebookmaker-drop" aria-hidden="true"> + +<div class="chapter"> + +<h2 class="nobreak" id="DESCRIPTION_OF_CHARACTERS">DESCRIPTION OF CHARACTERS</h2> + +</div> + +<p><i><span class="smcap">Pa Fishyer</span>, the janitor of the building, is a man of +about fifty. He speaks in curt, terse sentences, and is continually +grumbling under his breath. He is easily +angered and will tolerate no opinion but his own. An +honest man, but one who dominates his family through +fear.</i></p> + +<p><i><span class="smcap">Ma Fishyer</span> is a ground-down, care-worn woman of +perhaps forty-five years of age. She moves quickly and +bustles around constantly, as though to hide her nervous +fears. She is ever alert to protect her children from her +husband’s harsh and relentless methods.</i></p> + +<p><i><span class="smcap">Emil</span> is her childish son. Tall, gawky, docile and unobtrusive, +he moves with a certain machine-like submission. +Twenty-five may be his age.</i></p> + +<p><i><span class="smcap">Annie</span>, about seventeen, is her mother’s greatest +“worry,” a bit of human “driftwood.”</i></p> + +<p><i><span class="smcap">Mrs. Floyd</span> is a sharp-tongued, meddlesome neighbor</i>.</p> + +<p><i><span class="smcap">Miss Page</span>, capable, sympathetic, and firmly believing +that “to understand all, means to forgive all,” is an investigator +for the Morals Court.</i></p> + +<hr class="chap x-ebookmaker-drop" aria-hidden="true"> + +<div class="chapter"> + +<p><span class="pagenum" id="Page_1">[1]</span></p> + +<h2 class="nobreak" id="THE_UNDERCURRENT">THE UNDERCURRENT</h2> + +<p><span class="pagenum" id="Page_2">[2]</span></p> + +</div> + +<hr class="chap x-ebookmaker-drop" aria-hidden="true"> + +<div class="chapter"> + +<p><span class="pagenum" id="Page_3">[3]</span></p> + +<h2 class="nobreak" id="THE_UNDERCURRENT_1">THE UNDERCURRENT</h2> + +</div> + +<p><span class="smcap">Scene</span>: <i>In the basement kitchen which also does +duty as living and dining room in an old-fashioned +New York apartment building. An air of orderliness +pervades the room, which is furnished with the +meager belongings of the Fishyer family. Shabby, +faded curtains hang limply on each side of the small +iron-barred window to the left of the room. The +galvanized sink is in the back, flanked on the right +by the kitchen range and on the left by an old cupboard. +A coat rack has been nailed to the side of this +cupboard. Over the sink is a shelf, holding the alarm +clock, comb and brush and shaving mug. The +kitchen table covered with a red table cloth occupies +almost the exact center of the room. Upon the table +are four plates, knives, forks, cups and saucers, half +a loaf of rye bread, a glass jar filled with teaspoons, +and a partly filled bottle of milk. There are four +chairs around the table.</i></p> + +<p><i>To the left of this table and near the front of the +room stands a dilapidated horse-hair sofa. Directly +vis-a-vis from this sofa at the Lower Right is a +<span class="pagenum" id="Page_4">[4]</span>Morris chair which through long usage has sagged +and remolded itself to <span class="smcap">Pa Fishyer’s</span> two-hundred +odd pounds. The door at the Right leads into a short +corridor through which the <span class="smcap">Fishyer’s</span> must pass in +order to reach the bedrooms, boiler room, store-room, +back stairs, etc. A small table, ladened with +pipes, tobacco jar and the Bible is to Right of this +door, and the wall phone to the Left. A clothesline +with its motley array of rags has been fastened to +the hook above the phone and then stretched diagonally +across the stove to the shelf above the sink. As +this room is below the street level, it is necessary to +mount the short flight of stairs Upper Left in order +to reach the areaway door Upper Left.</i></p> + +<p><i>It is evening, about 5 minutes of six, and a light +snow is falling. The feet of the passers-by can be seen +through the dimly frosted window panes.</i></p> + +<p><i><span class="smcap">Ma Fishyer</span> is peering through the window. Her +whole attitude is one of terrible anxiety and she turns +with a half sob of relief as she hears the areaway +door open stealthily.</i></p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>[<i>Under her breath.</i>] A-annie?</p> + +<p class="speaker"><span class="smcap">Mrs. Floyd</span></p> + +<p>[<i>Stalking down the stairs.</i>] Hello, there!</p> + +<p><span class="pagenum" id="Page_5">[5]</span></p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>[<i>Swallowing her disappointment.</i>] Ach, it’s yuh, +Mis’ Floyd! I—I thought yuh vas ... [<i>She turns +back to the window again</i>] ... s-somebody else!</p> + +<p class="speaker"><span class="smcap">Mrs. Floyd</span></p> + +<p>[<i>Maliciously.</i>] Didya now! [<i>Eyes <span class="smcap">Annie’s</span> place at +table.</i>] Who fer instance?</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>Ach, eferybody alvays comes to de jeniter for +something ... maybe Mis’ Richards about de +g-garbage pails....</p> + +<p class="speaker"><span class="smcap">Mrs. Floyd</span></p> + +<p>... or mebbe even Annie, huh?</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>[<i>Unaware of the other’s curt smile.</i>] Shure, it’s +Thursday to-day ... and she alvays comes....</p> + +<p class="speaker"><span class="smcap">Mrs. Floyd</span></p> + +<p>Is that so? Well, ya never kin tell! [<i>Shakes fist at +door Right.</i>] Huh, I got some news to spill in yer +ear! [<i>Seats herself in <span class="smcap">Pa Fishyer’s</span> chair, Right of +table.</i>]</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>Ach, not—not now! [<i>Still peering out of window.</i>] +<span class="pagenum" id="Page_6">[6]</span>Pa’ll be here right avay and by six he vants to +eat. Not a minute efter six vill he vait.... [<i>She +looks at the clock.</i>]</p> + +<p class="speaker"><span class="smcap">Mrs. Floyd</span></p> + +<p>[<i>Leaning over.</i>] It’s about someone ya know!</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>... and ef Annie ain’t here on time.... [<i>She +turns startled as <span class="smcap">Mrs. Floyd’s</span> last words reach her.</i>] +... A-about somevun vat I know ... vat I +k-know?</p> + +<p class="speaker"><span class="smcap">Mrs. Floyd</span></p> + +<p>[<i>Venting her spite.</i>] I’ll tell de world ya do!</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>It ain’t nothin’ bad?</p> + +<p class="speaker"><span class="smcap">Mrs. Floyd</span></p> + +<p>Bad? Well! [<i>She glares at the door Right.</i>] I imagine +some people what thinks <em>my</em> son ain’t good +company fer their daughter—certainly are going to +have a fit to-night! [<i>With compressed lips.</i>] I’ll say +<em>he</em> is! Yes, siree!</p> + +<p><span class="pagenum" id="Page_7">[7]</span></p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>[<i>Coming slowly towards her.</i>] It ain’t ’bout +Annie?</p> + +<p class="speaker"><span class="smcap">Mrs. Floyd</span></p> + +<p>Nuthin’ else but!</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>[<i>Moans.</i>] Ach! [<i>Goes fearfully towards door +Right and, half opening it, listens intently.</i>]</p> + +<p class="speaker"><span class="smcap">Mrs. Floyd</span></p> + +<p>My son may be a little wild, but he ain’t never +been <em>arrested</em> yet.</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>Arrest.... [<i>She darts forward and puts her hand +over <span class="smcap">Mrs. Floyd’s</span> mouth.</i>] Shhhh!</p> + +<p class="speaker"><span class="smcap">Mrs. Floyd</span></p> + +<p>[<i>Sputtering.</i>] Say....</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>[<i>She glances terror-stricken to door.</i>] Pleese to go +now—he-he’s comin’, h-he’s c-comin’!</p> + +<p class="speaker"><span class="smcap">Mrs. Floyd</span></p> + +<p>What of it? I ain’t skeered of him.</p> + +<p><span class="pagenum" id="Page_8">[8]</span></p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>P-pleese, not now! [<i>Desperately.</i>] Not now—come +efter vile ... pleese ... [<i>Tugs at her dress.</i>]</p> + +<p class="speaker"><span class="smcap">Mrs. Floyd</span></p> + +<p>[<i>Rising.</i>] All right! I’ll go! [<i>Shakes her off.</i>] But +stop pushing! I’m going! [<i>Hobbles up the stairs and +slams door. Before <span class="smcap">Ma Fishyer</span> can breathe her relief, +she opens the door again.</i>] But I’ll be back +later!</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>Yess, yess, l-later....</p> + +<div class="direction"> + +<p>[<i>Scarcely has the door closed after <span class="smcap">Mrs. Floyd</span> when +<span class="smcap">Pa Fishyer</span> enters wearily from door Right.</i>]</p> + +</div> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>[<i>Throwing his denim jacket over Morris chair.</i>] +Huh! [<i>He strides over to the sink and begins washing +himself.</i>] Huh! Supper ready?</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>[<i>At the table.</i>] A-almost....</p> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>[<i>He growls.</i>] Almost? Don’tcha know yess or no? +<span class="pagenum" id="Page_9">[9]</span>[<i>He pushes up his spectacles and glares at the clock.</i>] +Vere’s Annie? It’s nearly six already!</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>De c-clock iss a l-little f-fest.... [<i>Walks nervously +to window.</i>]</p> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>Fest? Dat clock iss <em>alvays</em> right, yuh hear me? +Alvays right!</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>Yess, P-pa!</p> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>[<i>His wrath increasing.</i>] Vell, vere iss she?</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>[<i>Busies herself at stove.</i>] Na, Pa, she’ll be h-here +eny minute soon! Yuh know, h-how de l-lady k-keeps +her! [<i>She glances at the door through which +<span class="smcap">Mrs. Floyd</span> has left.</i>] And m-maybe—in dis b-bed +veather, she kent come at all!</p> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>Vat! [<i>Drying his hands.</i>]</p> + +<p><span class="pagenum" id="Page_10">[10]</span></p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>I—I mean—efen in <em>good</em> veather, only vunce a +veek does she haff a day off.</p> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>Dat’ll do! [<i>Throws towel on sink.</i>] Ve vait ’til +six ... [<i>Takes Bible from table and seats himself +in Morris chair.</i>] ... and den ve eat! [<i>Groans as +he rubs his rheumatic left arm. <span class="smcap">Emil</span> enters from +door Right.</i>] Na, Dummy, vat did she vant? [<i>Points +upward.</i>]</p> + +<p class="speaker"><span class="smcap">Emil</span></p> + +<p>[<i>Timidly.</i>] She fergot her key and....</p> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>... and yuh hed to open de door for her! [<i>He +growls.</i>] Vy don’t yuh say dat right avay? [<i>He begins +reading the Bible, following each word with +his finger.</i>]</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>Come, Emil ... [<i>She nods warningly in +Fishyer’s direction.</i>] ... and vash yerself.</p> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>[<i>He reads laboriously.</i>] “Train op a child in de +<span class="pagenum" id="Page_11">[11]</span>vay he should go ... [<i>Glares at <span class="smcap">Emil</span> and then repeats.</i>] +... de vay he <em>should</em> go! [<i>Reads.</i>] ... and +ven he iss old ... [<i>Repeats to himself.</i>] ... old +... he vill not depart from it....”</p> + +<div class="direction"> + +<p>[<i>There is a knock at the outer door Left and <span class="smcap">Ma +Fishyer</span> stands transfixed, her face ashen. <span class="smcap">Emil</span>, +his hands half-washed, looks inquiringly at his +father.</i>]</p> + +</div> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>Na, open de door!</p> + +<p class="speaker"><span class="smcap">Emil</span></p> + +<p>[<i>Hurriedly wiping his hands on his trousers, he +mounts the steps and opens the door.</i>] Whatcha +want?</p> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>Good evening! Does Annie Fishyer live here?</p> + +<p class="speaker"><span class="smcap">Emil</span></p> + +<p>Yeh ... [<i>He shuffles back to the sink.</i>] ... +come on in!</p> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>[<i>Descending the stairs.</i>] Thank you. I wasn’t quite +sure. [<i>Kindly to <span class="smcap">Ma Fishyer</span>.</i>] You must be Annie’s +mother and....</p> + +<p><span class="pagenum" id="Page_12">[12]</span></p> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>I em Karl Fishyer!</p> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>Ah, yes, Annie’s father. [<i>She smiles her quick +warm smile.</i>] I don’t think you know me. I am Miss +Page, a special investigator from the Morals Court!</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>[<i>Tremulously to <span class="smcap">Fishyer</span>.</i>] De lady, Pa, de l-lady +vat Annie v-vorks f-for....</p> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>So?</p> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>[<i>Surprised.</i>] Works for me?</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>[<i>Hurriedly.</i>] Pleese to come and sit down, Mis’, +here on de sofa! [<i>She deftly dusts the sofa with a +swish of her apron and then steps back and looks at +<span class="smcap">Miss Page</span> apprehensively.</i>]</p> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>I think you are mistaking me.... [<i>She stops as +she sees <span class="smcap">Ma Fishyer’s</span> drawn face.</i>]</p> + +<p><span class="pagenum" id="Page_13">[13]</span></p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>[<i>Indicating the sofa.</i>] P-pleese, Mis’....</p> + +<div class="direction"> + +<p>[<i><span class="smcap">Pa Fishyer</span> meanwhile replaces the Bible on the +table. <span class="smcap">Miss Page</span> sits down without another +word.</i>]</p> + +</div> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>[<i>Quickly.</i>] Annie a-ain’t home yet, b-but....</p> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>[<i>Puzzled.</i>] Isn’t home yet? Are you expecting +her?</p> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>Huh? [<i>He turns towards them.</i>] Shure—I expect +her to come!</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>Y-yess, she always c-c-comes here on her day off—Pa +means!</p> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>[<i>Probing gently.</i>] Her day off?</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>Maybe she n-nefer tells yuh, b-but she alvays +<span class="pagenum" id="Page_14">[14]</span>c-c-comes here Thursdays. [<i>She wets her lips.</i>] +D-don’t she, Pa?</p> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>[<i>Grudgingly</i>] Huh! [<i>To <span class="smcap">Miss Page</span>.</i>] Since she’s +vid yuh, Mis’, yess!</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>[<i>She talks to <span class="smcap">Miss Page</span>, but her eyes are anxiously +on <span class="smcap">Fishyer</span>.</i>] And efery cent vat she earns by yuh, +she brings to her Pa!</p> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>She—does what? [<i>Drawing off her gloves.</i>]</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>E-efery cent she brings to her Pa! She iss a fine +girl....</p> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>[<i>Cutting her short.</i>] Vat’s dot to brag ofer?</p> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>[<i>Soothingly.</i>] <em>Well</em>, I’m sure Annie is....</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>[<i>Eagerly.</i>] Yuh hear, Pa? Efen Mis’ Page sez vat +a fine Annie ve got.</p> + +<p><span class="pagenum" id="Page_15">[15]</span></p> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>Huh, she’s purty goot <em>now</em>! But before she vent +mit yuh, Mis’ ... [<i>He clenches his fist in wrath.</i>] +... I—her fadder—didn’t know vhere she vas for +three months efen.... [<i><span class="smcap">Miss Page</span> suppresses a +start.</i>]</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>[<i>Imploringly.</i>] But Pa, yuh know <em>now</em> vere she +vas! [<i>To <span class="smcap">Miss Page</span>.</i>] H-he m-means de time ven she +v-vas by yuh in ... [<i>She swallows hard.</i>] ... de +<em>country</em>.</p> + +<div class="direction"> + +<p>[<i><span class="smcap">Miss Page</span> conceals her astonishment.</i>]</p> + +</div> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>Efen ef she vas....</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>... and how vell she looked ven....</p> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>... she come home agen! [<i>He paces angrily back +and forth.</i>] I hear dot a million times already, too!</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>But P-pa....</p> + +<p><span class="pagenum" id="Page_16">[16]</span></p> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>All I say iss—dot’s no vay to treat yur fadder! +And efter de strict bringing op I giff de children, +dey must remember—alvays—dat I em dere fadder! +<em>I em de boss here!</em> [<i>To <span class="smcap">Emil</span> crouching against the +wall.</i>] Yuh hear me?</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>[<i>Imploringly.</i>] Pa, pleese, Pa.</p> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>[<i>Glaring at the clock.</i>] It’s six; ve eat now! [<i>He +seats himself at table Right and begins slicing bread, +motions <span class="smcap">Emil</span> to his seat, <span class="smcap">Emil</span> sits facing the audience.</i>]</p> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>[<i>She has been watching them attentively.</i>] Yes, +don’t let me interrupt you!</p> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>I alvays eat at six! [<i>Turns towards stove.</i>] Vere iss +dot girl? [<i><span class="smcap">Ma</span> comes to table with platter of stew +which she places quickly before him.</i>] Vat time yuh +let her come to-day, Mis’...?</p> + +<div class="direction"> + +<p>[<i>Before she can answer, steps are heard and <span class="smcap">Annie</span> +enters hurriedly from the areaway door.</i>]</p> + +</div> + +<p><span class="pagenum" id="Page_17">[17]</span></p> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>Dere she iss! [<i>Points at her with knife.</i>]</p> + +<p class="speaker"><span class="smcap">Annie</span></p> + +<p>[<i>Breathlessly.</i>] Oh, Pa, I couldn’t ... I couldn’t +help it, I wuz.... [<i>She sees <span class="smcap">Emil’s</span> finger surreptitiously +signaling <span class="smcap">Miss Page’s</span> presence. She gives +<span class="smcap">Miss Page</span> a terror-stricken look, then shrinks back +against the wall for support.</i>]</p> + +<p class="speaker"><span class="smcap">Annie</span></p> + +<p>[<i>Gasps</i>] Oh!</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>[<i>She goes towards her quickly and holding her +tight against her breast, speaks so as to give her time +to recover.</i>] Ach, no vunder she iss surprised to see +her lady here!</p> + +<p class="speaker"><span class="smcap">Annie</span></p> + +<p>[<i>Clinging to her.</i>] Ma!</p> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>[<i>Slowly, with great significance.</i>] I had an errand +to do in this neighborhood, Annie, and as I passed +this house, I stopped in ... [<i>Sees <span class="smcap">Ma Fishyer’s</span> +<span class="pagenum" id="Page_18">[18]</span>pleading look.</i>] ... to ... to get acquainted with +your parents!</p> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>And ve are gled to know yuh also. [<i>He motions +to the table.</i>] Yuh eat mit us?</p> + +<div class="direction"> + +<p>[<i><span class="smcap">Emil</span> pushes out <span class="smcap">Annie’s</span> chair for her.</i>]</p> + +</div> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>No, thank you. If you don’t mind, I’ll just sit +here.</p> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>Shure! Make yurself to home.</p> + +<p>[<i>He bangs on the table with his knife.</i>] Ma, ve +eat now!</p> + +<div class="direction"> + +<p>[<i><span class="smcap">Annie</span> hangs her coat and hat on coat rack.</i>]</p> + +</div> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>[<i>Motioning to <span class="smcap">Annie</span>.</i>] Sit down! [<i><span class="smcap">Annie</span> slips +into her chair, facing her father. <span class="smcap">Ma Fishyer</span> brings +coffee pot to table.</i>]</p> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>[<i>Observing <span class="smcap">Emil</span> with interest.</i>] I didn’t know +Annie had a brother.</p> + +<p><span class="pagenum" id="Page_19">[19]</span></p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>[<i>Hurriedly, before <span class="smcap">Fishyer</span> can answer.</i>] Ach, +yess, and sotch a good boy! He helps his Pa take +care off de house.</p> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>[<i>Grudgingly.</i>] Huh!</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>[<i>Dishing out the food to <span class="smcap">Emil</span> and <span class="smcap">Annie</span>.</i>] And +some day, he’ll be a jeniter, too! And like our coffee +man sez: “Jeniter vork iss nuthin’ to sneeze at!” +So vat vid Pa’s rheumatism, ve are gled to haff +Emil help so nice!</p> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>Emil—bahhh! [<i><span class="smcap">Emil</span> crouches behind his mother’s +arm.</i>]</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>And yuh haff no idea, Mis’, how mutch vork dere +iss here to do! [<i>Pours coffee.</i>] So vid our Emil....</p> + +<div class="direction"> + +<p>[<i><span class="smcap">Fishyer</span> laughs derisively.</i>]</p> + +</div> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>[<i>Soothingly.</i>] Yes, you must be kept very busy, +Mr. Fishyer!</p> + +<p><span class="pagenum" id="Page_20">[20]</span></p> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>Bizzy? Yuh don’t know it, Mis’, how crazy ... +[<i>He points upward with his knife.</i>] ... dose vomens +get me! First, vun comes and sez de vater iss too +hot—dat efery time she turns it on—she a Turkish +bath gets! Den.... [<i>The phone rings.</i>] Yuh see, +not efen peace on a meal I got.... [<i>Pushes back his +chair.</i>]</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>Vait, Pa, I go! [<i>She hurries to phone.</i>] Hollo! +Yess, Mis’ Richards, yess, he <em>iss</em> by de boiler ... +[<i><span class="smcap">Pa Fishyer</span> motions for <span class="smcap">Emil</span> to go out.</i>] ... +puttin’ more coal on! Yess, mam! [<i>She turns from +phone just in time to see <span class="smcap">Emil’s</span> scowling gesture +at his father’s back.</i>] Emil! [<i>Grabs his cap in frantic +haste.</i>] Yur cap ... [<i>Pushes him towards door +Right.</i>] ... quick!</p> + +<div class="direction"> + +<p>[<i><span class="smcap">Pa Fishyer</span>, unaware of what is passing in back of +his chair, pounds the table emphatically, with +his fist.</i></p> + +<p><i>With a terrified look, <span class="smcap">Emil</span> rushes out, letting +<span class="smcap">Ma Fishyer</span> close the door behind him.</i>]</p> + +</div> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>[<i>He raises his head stubbornly.</i>] I tell yuh, dat +voman could by de devil sit and yet be cold!</p> + +<p><span class="pagenum" id="Page_21">[21]</span></p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>Yess, yess, Pa! But ve are gled to haff dis job! And +vat ... mit our Emil and Annie helpin’ so +nice....</p> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>Helpin’! Bahhhh!</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>Ach, Mis’ Page, efery night I thank de good Gott +for my Annie....</p> + +<p class="speaker"><span class="smcap">Annie</span></p> + +<p>[<i>She turns quickly and gives her <span class="smcap">Mother</span> a beseeching +glance.</i>] Ma ... oh, M-ma.... [<i>Her +coffee cup falls from her nerveless hand, spilling its +contents on her dress.</i>]</p> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>Huh!</p> + +<p class="speaker"><span class="smcap">Annie</span></p> + +<p>Pa ... P-pa ... it slipped! I—I’ll change my +dress! [<i>She rushes out door Right.</i>]</p> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>[<i>Looks after her.</i>] Huh!</p> + +<p><span class="pagenum" id="Page_22">[22]</span></p> + +<p>[<i>Accuses <span class="smcap">Ma Fishyer</span> while he dips his bread in his +coffee.</i>] Fine manners, she got!</p> + +<div class="direction"> + +<p>[<i>Phone rings again.</i>]</p> + +</div> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>[<i>Running to phone.</i>] Yess, yess, Mis’ Richards! +[<i>Into receiver.</i>] Hollo.... Yess, Mis’ Richards, he +<em>iss</em>....</p> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>[<i>Exasperated.</i>] Oh, vat a dummy of a son, I got! +[<i>To <span class="smcap">Ma Fishyer</span>.</i>] Maybe he fell in de coal bin +again! [<i>Exits door Right rubbing his rheumatic left +arm.</i>]</p> + +<div class="direction"> + +<p>[<i><span class="smcap">Ma Fishyer</span> turns from the phone, listens a moment +at the door through which <span class="smcap">Pa Fishyer</span> has +gone, then quickly crosses the room to <span class="smcap">Miss +Page</span>. Her whole manner has changed; she +seems to have shrunk suddenly.</i>]</p> + +</div> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>I em gled to know yuh, Mis’! [<i>She clasps and unclasps +her hands.</i>] And my Annie—my Annie....</p> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>[<i>Gently.</i>] Sit down, Mrs. Fishyer!</p> + +<p><span class="pagenum" id="Page_23">[23]</span></p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>[<i>She sinks down in Annie’s chair at the left of the +table.</i>] She—she iss mit y-yuh?</p> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>[<i>Compassionately.</i>] In a way—yes.</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>In a vay?</p> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>Yes, I am interested in her welfare and am looking +after her.</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>[<i>Scarcely audible.</i>] S-she don’t live m-mit yuh?</p> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>Not exactly....</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>Ach, don’t tell dis to Pa! [<i>In despair.</i>] Pleese, +pleese, don’t tell him enyding vat iss agenst her!</p> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>[<i>Leaning forward.</i>] I don’t understand.</p> + +<p><span class="pagenum" id="Page_24">[24]</span></p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>If—if he knows eferyding [<i>Swallowing with +difficulty.</i>] ... h-he kills her!</p> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>[<i>Gently.</i>] Do <em>you</em> know everything about her?</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>[<i>Terrified.</i>] No, no, don’t tell me! Pleese not to +tell me! I don’t vant to know!</p> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>Not even when you may be able to help her?</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>[<i>Shaking her head.</i>] All I kin do ... [<i>Motioning +to the boiler room.</i>] ... iss to keep him from +findin’ out d-dings about her! [<i>She looks her full in +the face.</i>] I don’t vant to know enyding agenst my +Annie!</p> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>[<i>Puzzled.</i>] But if you remain in ignorance—how +can you be of assistance?</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>[<i>Tremulously.</i>] I kin help her only by—knowin’ +nodding.</p> + +<p><span class="pagenum" id="Page_25">[25]</span></p> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>What do you mean? You as her mother should +be anxious to know.</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>Yess, yuh haff right! But yuh don’t know Pa! [<i>She +whispers.</i>] He alvays suspicions eferybody! Me—Emil—Annie! +He dinks I hide from him someding +about de children! [<i>She pauses.</i>] And den—it best +iss I don’t know dings. [<i>Slowly.</i>] Ven yuh don’t +know dings, he kent be scoldin’ yuh all de time!</p> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>[<i>Aghast.</i>] But—why should he?</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>[<i>Bitterly.</i>] Ach, vy! Vy should he? [<i>She passes her +hand across her eyes.</i>] Vat kin yuh do mit a man vat +hass in his head only <em>vun idea</em>!</p> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>One idea?</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>Vun idea! [<i>Brokenly.</i>] Dot all children should be +brought op <i>strict</i>—mit mutch scoldin’ and vhippin’.</p> + +<p><span class="pagenum" id="Page_26">[26]</span></p> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>[<i>Indignantly.</i>] But can’t you convince him that +such harsh methods....</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>[<i>Sobs.</i>] I k-kin do nodding mit him—no vun kin! +[<i>She beats her clenched fist against her forehead.</i>] +He hass dot vun idea in his head and ... [<i>She +stares frantically at the door through which <span class="smcap">Mrs. +Floyd</span> has gone.</i>] ... h-he must n-nefer find out!</p> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>Find out what? [<i>As <span class="smcap">Ma Fishyer</span> rocks back and +forth weeping.</i>] Don’t be afraid. Tell me.</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>[<i>Tearfully.</i>] Pleese, Mis’ Page, don’t let him find +out dings a-agenst A-Annie! [<i>Weeps.</i>] P-p-pleese, +pleese see I go on m-my knees t-to yuh! [<i>Sinks +down at <span class="smcap">Miss Page’s</span> knees.</i>] Pleese ... p-p-pleese!</p> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>[<i>Her eyes filled with tears.</i>] Don’t cry, don’t! +[<i>She places her arm around her shaking shoulders.</i>] +Why didn’t you come to see me?</p> + +<p><span class="pagenum" id="Page_27">[27]</span></p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>[<i>Weeping as she grasps <span class="smcap">Miss Page’s</span> hands in +agony.</i>] Ach, I vanted to c-come so m-meny t-times +and esk yuh ... take c-care off Annie! L-look efter +her ... b-but I vas afraid!</p> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>Afraid?</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>Yess, because ... m-maybe....</p> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>[<i>She looks with sudden understanding towards +<span class="smcap">Annie’s</span> chair.</i>] ... there <em>was</em> no Miss Page?</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>Yess! But n-now I seen yuh! [<i>She grasps her +arms convulsively.</i>] Yuh <em>vill</em> l-look out for her, +von’t yuh? [<i>She wails.</i>] It iss all I haff in de vorld—my +two c-children—all I haff. [<i>Sinks weeping bitterly +against <span class="smcap">Miss Page</span>.</i>]</p> + +<div class="direction"> + +<p>[<i><span class="smcap">Emil’s</span> whimpering cry is heard from the boiler +room.</i>]</p> + +</div> + +<p><span class="pagenum" id="Page_28">[28]</span></p> + +<p class="speaker"><span class="smcap">Emil</span></p> + +<p>M-ma! Oh, Ma!</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>[<i>She starts up.</i>] It’s Emil! Yuh vill oxcuse me? +[<i>Wearily.</i>] I gotta go—he forgot agen to open de +valve maybe! [<i>She grabs her shawl from the coat +rack.</i>] And Pa mit hiss rheumatism kent reach +op....</p> + +<div class="direction"> + +<p>[<i><span class="smcap">Miss Page</span> rises.</i>]</p> + +</div> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>[<i>Angrily from the boiler room.</i>] Ma! Yuh hear +me?</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>Yess, Pa! [<i>To <span class="smcap">Miss Page</span>.</i>] Yuh <em>vill</em> take care off +her?</p> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>Ma! Come here!</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>[<i>She chokes back the tears as she opens the door +to the boiler room.</i>] Yess, Pa, I em c-comin’! [<i>She +whispers back to <span class="smcap">Miss Page</span>.</i>] And pleese, alvays to +remember—Pa should know nodding agenst her. +<span class="pagenum" id="Page_29">[29]</span>[<i>She backs out murmuring.</i>] No-nodding ... n-nodding.</p> + +<div class="direction"> + +<p>[<i><span class="smcap">Miss Page</span> dries her own tears and looks about the +room with distaste. Then she goes resolutely to +the door Right and opens it.</i>]</p> + +</div> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>[<i>Calling softly.</i>] Annie! Annie! [<i>Motions.</i>] Come +out here! [<i><span class="smcap">Miss Page</span> walks to table.</i>]</p> + +<div class="direction"> + +<p>[<i><span class="smcap">Annie</span> enters and closes door softly. She listens attentively, +her face pressed against the door.</i>]</p> + +</div> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>[<i>Back of <span class="smcap">Emil’s</span> chair.</i>] What have you been telling +them?</p> + +<p class="speaker"><span class="smcap">Annie</span></p> + +<p>[<i>On the defensive.</i>] Nuthin’ much ... only that +I worked for ya as a hired girl!</p> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>Why did you do that?</p> + +<p class="speaker"><span class="smcap">Annie</span></p> + +<p>[<i>Back of arm chair.</i>] So’s to get away from here! +If he thought I wuz a dish washer in a restaurant I’d +<span class="pagenum" id="Page_30">[30]</span>hafta live here! [<i>She shudders.</i>] Nuthin’ doin’! I +had seventeen years of it!</p> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>Yes, but still this is your home.</p> + +<p class="speaker"><span class="smcap">Annie</span></p> + +<p>Yeh! [<i>Tremulously.</i>] And I know what it’s like!</p> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>Didn’t you tell anyone? [<i><span class="smcap">Annie</span> shakes her +head.</i>] Not even your mother?</p> + +<p class="speaker"><span class="smcap">Annie</span></p> + +<p>[<i>Goes quickly towards <span class="smcap">Miss Page</span>. Aghast.</i>] And +have him beat it outta her? Whadda ya think I am?</p> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>[<i>Puzzled.</i>] Why did you tell them you worked +for me?</p> + +<p class="speaker"><span class="smcap">Annie</span></p> + +<p>Well, I—I hadda give somebody’s name and yuh +wuz de only one I could think of! [<i>Glances quickly +towards closed door Right, then pleads.</i>] B-before +that happened last year, Miss Page, I n-nearly +<span class="pagenum" id="Page_31">[31]</span>w-went crazy, and when I fell over <em>that time</em> and ya +sent m-me to de home until e-everything wuz over.... +I—j-jest sorta never forgotcha!</p> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>[<i>Severely.</i>] Yes, but what has that to do with all +this?</p> + +<p class="speaker"><span class="smcap">Annie</span></p> + +<p>W-well, I n-needed some sorta alibi fer stayin’ +away from here ... [<i>Moves slowly down stage +Right.</i>] ... s-so I—I told ’em I <em>worked</em> for ya and +that ya wuz goin’ out to de <em>c-country</em> and I hadda +go ’long!</p> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>[<i>Insistent.</i>] And what else?</p> + +<p class="speaker"><span class="smcap">Annie</span></p> + +<p>W-well, when I got outta de <em>hospital</em>, I stuck to +my story and only came here Thursdays.</p> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>[<i>With a helpless gesture.</i>] Oh, Annie, why can’t +you behave yourself?</p> + +<p class="speaker"><span class="smcap">Annie</span></p> + +<p>[<i>Vehemently.</i>] I <em>do</em>, Miss Page, honest I do! +<span class="pagenum" id="Page_32">[32]</span>[<i>Crosses to Lower Left to escape <span class="smcap">Miss Page’s</span> searching +eyes.</i>] B-but I can’t help it if there’s a-always +somebody s-snitchin’ on ya!</p> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>[<i>Reproachfully.</i>] Snitching! But Annie....</p> + +<p class="speaker"><span class="smcap">Annie</span></p> + +<p>[<i>Nervously, twisting and untwisting her belt.</i>] I +d-don’t care <em>what</em> they say! I—I didn’t pick up with +that feller on de s-street! He—h-he wuz in de room +when I g-got in last night!</p> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>[<i>Coming towards her, slowly.</i>] And <em>how</em> did he +get there?</p> + +<p class="speaker"><span class="smcap">Annie</span></p> + +<p>[<i>Feebly.</i>] Oh—er—one of de girls musta let’m +have de key!</p> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>[<i>Sadly.</i>] Those girls! [<i><span class="smcap">Annie</span> shrinks further +away.</i>] Why do you live with them? You promised +me the last time, you wouldn’t have anything more +to do with Mame and Lottie!</p> + +<p class="speaker"><span class="smcap">Annie</span></p> + +<p>[<i>Haltingly.</i>] But they’se so good to me, Mis’ Page! +<span class="pagenum" id="Page_33">[33]</span>I gotta live some place ... it might as well be with +dem....</p> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>... and get yourself constantly into trouble?</p> + +<p class="speaker"><span class="smcap">Annie</span></p> + +<p>[<i>Protesting.</i>] Oh, Mis’ Page! Ya don’t want me to +live <em>here</em>, do ya? [<i>Tremulously.</i>] Gee, if it wuzn’t +fer Ma I’d n-never come h-here! B-but Ma ... [<i>Her +whole heart is in her voice.</i>] ... she’s m-my M-ma +... [<i>Sobs.</i>] ... s-she’s m-my M-m-ma!</p> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>[<i>Walks up and puts her arm around <span class="smcap">Annie’s</span> +shaking shoulders, holds her tight.</i>] What’s going to +become of you, Annie?</p> + +<p class="speaker"><span class="smcap">Annie</span></p> + +<p>[<i>With hopeless shrug.</i>] I dunno—and I don’t +care! [<i>Moves away.</i>] Just so long ... [<i>Nods to +door Right.</i>] ... as <em>he</em> don’t ketch on!</p> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>[<i>Walks thoughtfully back a few steps towards +door Right before turning.</i>] Do you know why I +came here to-night?</p> + +<p><span class="pagenum" id="Page_34">[34]</span></p> + +<p class="speaker"><span class="smcap">Annie</span></p> + +<p>N-no.</p> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>I came here to find out the kind of home you +have, so when I see the Judge ... [<i><span class="smcap">Annie</span> looks up +startled.</i>] ... to-morrow morning, I can tell him a +little more about you!</p> + +<p class="speaker"><span class="smcap">Annie</span></p> + +<p>[<i>Whispers.</i>] A-about me?</p> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>Yes! [<i>Earnestly.</i>] I’ve always been on the square +with you, haven’t I, Annie? [<i><span class="smcap">Annie</span> nods.</i>] And I +want to help you all I can. <em>But</em> you’ve been picked +up four times during the last five months for loitering +on the streets late at night! [<i>As <span class="smcap">Annie</span> starts to +appeal.</i>] And <em>last</em> night the <em>police</em> raided the flat +you were in!</p> + +<p class="speaker"><span class="smcap">Annie</span></p> + +<p>[<i>Protesting.</i>] But honest, Mis’ Page, I couldn’t +help it! [<i>She looks about her like an hunted animal.</i>] +Ya see, I wuz ... wuz ... shhh!</p> + +<div class="direction"> + +<p>[<i>The areaway door has opened and <span class="smcap">Mrs. Floyd</span> appears +on top stair.</i>]</p> + +</div> + +<p><span class="pagenum" id="Page_35">[35]</span></p> + +<p class="speaker"><span class="smcap">Mrs. Floyd</span></p> + +<p>[<i>Her beady eyes glisten in anticipation as she surveys +<span class="smcap">Annie</span>.</i>] Hello, there! [<i>She stumps down the +stairs.</i>]</p> + +<p class="speaker"><span class="smcap">Annie</span></p> + +<p>[<i>Instinctively on the defensive.</i>] H-hello! [<i>Moves +forward to head her off.</i>] Ma’s helping’ Pa!</p> + +<div class="direction"> + +<p>[<i><span class="smcap">Miss Page</span> crosses to sofa.</i>]</p> + +</div> + +<p class="speaker"><span class="smcap">Mrs. Floyd</span></p> + +<p>[<i>Shaking off <span class="smcap">Annie’s</span> restraining hand.</i>] Oh, is +she now! [<i>Pulls out <span class="smcap">Emil’s</span> chair.</i>] Then I’ll wait fer +her!</p> + +<p class="speaker"><span class="smcap">Annie</span></p> + +<p>[<i>In desperate fear, jerks her around.</i>] I toldja, +she’s helpin’ Pa!</p> + +<p class="speaker"><span class="smcap">Mrs. Floyd</span></p> + +<p>[<i>Flinging her against the cupboard.</i>] Lissen, +girlie, I gotcha de <em>first</em> time!</p> + +<div class="direction"> + +<p>[<i><span class="smcap">Ma Fishyer</span> enters hastily from door Right.</i>]</p> + +</div> + +<p class="speaker"><span class="smcap">Annie</span></p> + +<p>[<i>Almost hysterical in her fright.</i>] Then beat it!</p> + +<p><span class="pagenum" id="Page_36">[36]</span></p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>Ach, Mis’ Floyd, I heard yuh close yur door! +Ve—ve heff company now ... maybe it be better +ve go on to <em>yer</em> flet....</p> + +<p class="speaker"><span class="smcap">Mrs. Floyd</span></p> + +<p>Oh, this suits me, I ain’t pertic’ler! [<i>Seats herself +in <span class="smcap">Emil’s</span> chair. Watching <span class="smcap">Annie</span> signalling to <span class="smcap">Miss +Page</span>.</i>] Who’s her friend?</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>[<i>Nervously.</i>] Oxcuse me, but dis iss Annie’s Mis’ +Page....</p> + +<p class="speaker"><span class="smcap">Mrs. Floyd</span></p> + +<p>[<i>In response to <span class="smcap">Miss Page’s</span> nod.</i>] Pleased to +meetcha! [<i><span class="smcap">Annie</span> crosses over to her <span class="smcap">Mother</span> and +whispers distractedly in her ear.</i>]</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>Ve ain’t finished our supper yet! Maybe it’s better +I come ofer and see yuh efter vile.</p> + +<p class="speaker"><span class="smcap">Mrs. Floyd</span></p> + +<p>[<i>Not to be budged.</i>] After while nuthin’! What +did she say?</p> + +<div class="direction"> + +<p>[<i><span class="smcap">Pa Fishyer</span> enters unnoticed, wiping his hands.</i>]</p> + +</div> + +<p><span class="pagenum" id="Page_37">[37]</span></p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>[<i>Piteously.</i>] Pleese, Mis’ Floyd, eny minute now +... Pa ... Pa comes....</p> + +<p class="speaker"><span class="smcap">Mrs. Floyd</span></p> + +<p>[<i>She thumbs towards <span class="smcap">Annie</span>.</i>] Did she say she +wuz arrested?</p> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>Arrested! [<i>All look up in surprise. <span class="smcap">Annie</span> cowers +against the sink.</i>] Who vas arrested?</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>[<i>At bay.</i>] Ach, Mis’ Floyd hass just been talkin’—er—no +vitch vay to me, h’aintcha, Mis’ Floyd?</p> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>Na—all right! [<i>He thunders at his wife.</i>] But +who vas arrested?</p> + +<p class="speaker"><span class="smcap">Mrs. Floyd</span></p> + +<p>Who? [<i>Spitefully.</i>] Well, Mr. Fishyer, a’course, it +ain’t none of <em>my</em> business, <em>but</em> seeing what good +neighbors we been and how <em>pertic’ler</em> ya wuz to let +me know that my son is a good-fer-nuthin’ loafer—I +take great pleasure ta letcha know that one of <em>yer</em> +swell family is, wuz or will be arrested!</p> + +<p><span class="pagenum" id="Page_38">[38]</span></p> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>Vat? My family vat I bring up so strict?</p> + +<p class="speaker"><span class="smcap">Mrs. Floyd</span></p> + +<p>[<i>She cackles derisively.</i>] Uhuh! Ain’t it the limit?</p> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>[<i>Purpling with rage.</i>] Who iss it?</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>[<i>Clinging to his arm.</i>] Pa, pleese, ... P-Pa....</p> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>[<i>He shakes her off.</i>] Na, are yuh deef? Na—<em>who</em> +I say?</p> + +<p class="speaker"><span class="smcap">Mrs. Floyd</span></p> + +<p>[<i>Vindictively.</i>] Who else but yer Annie!</p> + +<div class="direction"> + +<p>[<i><span class="smcap">Annie</span> becomes deathly pale and shrinks against +the wall Lower Right.</i>]</p> + +</div> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>[<i>Turns furiously.</i>] <em>Vat?</em></p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>[<i>She thrusts herself between <span class="smcap">Fishyer</span> and <span class="smcap">Annie</span>. +Frantically.</i>] Mis’ Page, Mis’ Page....</p> + +<p><span class="pagenum" id="Page_39">[39]</span></p> + +<p class="speaker"><span class="smcap">Annie</span></p> + +<p>[<i>Clasping her mother convulsively, whimpers.</i>] +M-ma!</p> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>[<i>Quickly.</i>] There—there must be some mistake! +Where did you hear this, Mrs. Floyd?</p> + +<p class="speaker"><span class="smcap">Mrs. Floyd</span></p> + +<p>Well ... a friend of mine went ta the Domestic +Relation Court ta-day ta see about that husband of +her’n—a perfect brute....</p> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>[<i>Impatiently.</i>] Yeh, nefer mind about de brute!</p> + +<p class="speaker"><span class="smcap">Mrs. Floyd</span></p> + +<p>And so I went along, because I been readin’ a +dandy story about the Morals Court—yeh know ... +[<i>She winks to <span class="smcap">Miss Page</span> as she thumbs in <span class="smcap">Annie’s</span> +direction.</i>] ... where them girls are taken ... +anda so I sez ta myself ... sez I ...</p> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>[<i>Exasperated.</i>] Vat?</p> + +<p class="speaker"><span class="smcap">Mrs. Floyd</span></p> + +<p>That’s what I’m comin’ ta. So I sez ta myself, I’ll +<span class="pagenum" id="Page_40">[40]</span>visit the Morals Court and see if them fellas from +the papers tells the truth! [<i><span class="smcap">Fishyer</span> almost beside +himself with frenzy.</i>] But I stayed so long with +my friend that the Judge wuz jest closin’ fer the day. +<em>But</em> who should I see there—but Annie!</p> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>[<i>Choking with wrath, turns wildly with up-lifted +fist towards <span class="smcap">Annie</span>.</i>] Annie, come here!</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>[<i>Holding him back.</i>] Don’t, Pa, pleese, don’t....</p> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>[<i>Trying to loosen her hold.</i>] Keep quiet!</p> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>[<i>Resolutely.</i>] That isn’t anything at all, Mr. +Fishyer!</p> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>[<i>Bellows.</i>] Vat <em>more</em> yuh vant, efter bringin’ up a +girl so strict?</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>[<i>Screams in terror as she feels herself overpowered.</i>] +Pa, pleese, P-pa....</p> + +<p><span class="pagenum" id="Page_41">[41]</span></p> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>Vill yuh keep qviet! [<i>Furiously to <span class="smcap">Annie</span>, whimpering +in terror.</i>] First, I giff yuh someding to remember +me by ... and den out off de <em>house</em> yuh +go!</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>[<i>Fighting to hold him back.</i>] N-no, Pa, don’t....</p> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>[<i>Throwing her on the floor in front of table.</i>] +Get out off my vay, Ma! [<i>He shouts enraged.</i>] +Annie, come here! Yuh hear me! [<i>He grasps her +left arm and jerks her towards him.</i>]</p> + +<p class="speaker"><span class="smcap">Annie</span></p> + +<p>[<i>Writhing in pain as he tightens his hold.</i>] No—no! +It’s—it’s a lie—a lie....</p> + +<p class="speaker"><span class="smcap">Mrs. Floyd</span></p> + +<p>[<i>Rising in surprise.</i>] Huh!</p> + +<p class="speaker"><span class="smcap">Annie</span></p> + +<p>Yes, it is! [<i>She glares about her with the desperation +of a trapped animal.</i>] Yes, it is! I—I wuz ... +there ... [<i>She points sobbingly to <span class="smcap">Miss Page</span>.</i>] ... +with her!</p> + +<p><span class="pagenum" id="Page_42">[42]</span></p> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>Mit her? Mis’ Page?</p> + +<p class="speaker"><span class="smcap">Annie</span></p> + +<p>[<i>Trying to loosen his grip.</i>] Yes, I wuz helpin’ +her carry her books ... [<i>She nods to <span class="smcap">Mrs. Floyd</span>.</i>] +... when she musta seen me!</p> + +<div class="direction"> + +<p>[<i><span class="smcap">Miss Page</span> is startled at <span class="smcap">Annie’s</span> lie.</i>]</p> + +</div> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>[<i>Tightening his cruel hold until she falls sobbing +on her knees.</i>] Vat yuh mean?</p> + +<p class="speaker"><span class="smcap">Annie</span></p> + +<p>[<i>The words fairly tumble from her twitching +lips.</i>] Mis’ Page works fer de Judge—h-helps him.... +And I often go to de court with h-her ... +don’t I, Mis’ Page?</p> + +<div class="direction"> + +<p>[<i>An agonizing second. <span class="smcap">Miss Page</span> gives one glance +at <span class="smcap">Ma Fishyer’s</span> prostrated form on the floor +and then rises to the occasion.</i>]</p> + +</div> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>Yes! She’s <em>always</em> there with me!</p> + +<p class="speaker"><span class="smcap">Annie</span></p> + +<p>[<i>Sobs.</i>] And—I been there lots of times, ain’t I, +Mis’ Page?</p> + +<p><span class="pagenum" id="Page_43">[43]</span></p> + +<div class="direction"> + +<p>[<i>Quickly before <span class="smcap">Miss Page</span> can reply, <span class="smcap">Ma Fishyer</span> +thrusts herself between <span class="smcap">Pa Fishyer</span> and <span class="smcap">Annie</span>.</i>]</p> + +</div> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>[<i>Tries to separate his iron grip from <span class="smcap">Annie’s</span> +arm.</i>] Yuh see, Pa? yuh see?</p> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>[<i>To <span class="smcap">Miss Page</span>, slightly mollified.</i>] Ef she’s vid +<em>yuh</em>, Mis’ ... dot’s all right, den! [<i>Flings <span class="smcap">Annie</span> +and <span class="smcap">Ma Fishyer</span> from him. While <span class="smcap">Ma Fishyer</span> tenderly +kisses <span class="smcap">Annie’s</span> arm he turns wrathfully towards +<span class="smcap">Mrs. Floyd</span>.</i>] <em>BUT!</em> [<i><span class="smcap">Mrs. Floyd</span>, who seeing +his intentions, scurries up the stairs.</i>] ... Good-bye, +Mis’ Floyd! [<i>Runs up the stairs and shouts after +her.</i>] And next time yuh <em>look</em> first before yuh jump! +[<i>Crashes door after her.</i>]</p> + +<div class="direction"> + +<p>[<i><span class="smcap">Ma Fishyer</span> is holding <span class="smcap">Annie</span> tightly in her arms. +Both are weeping.</i>]</p> + +</div> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>So! [<i>Comes down stairs.</i>] Dis should be a lesson +for yuh, Annie! Yuh see now vat maybe heppens ef +I don’t bring yuh up so strict! [<i>Shakes fist after <span class="smcap">Mrs. +Floyd</span>.</i>] Dat cat vat just left might be in de right!</p> + +<div class="direction"> + +<p>[<i><span class="smcap">Emil</span> re-enters and moves wonderingly towards +sink.</i>]</p> + +</div> + +<p><span class="pagenum" id="Page_44">[44]</span></p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>[<i>Her breath sobbing in her throat.</i>] Y-yess, Pa, +y-yess....</p> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>[<i>Sternly flinging her away from <span class="smcap">Annie</span> so that +she falls into <span class="smcap">Emil’s</span> arms.</i>] Let her alone, Ma! Vat +kind off bringin’ up is dot? [<i>To <span class="smcap">Miss Page</span>.</i>] I tell +yuh, Mis’, my fadder alvays said: “Order rules de +vorld, but <em>man</em> iss ruled vid de <em>vhip!</em>” And he vas +right! [<i>Glares at <span class="smcap">Annie</span>.</i>] He ruled us vid a hand +off iron! [<i>To <span class="smcap">Miss Page</span>.</i>] And look on me! I haf +de greatest respect for my fadder! [<i>Gives them all +a menacing look.</i>] And I do de same! Alvays am I +strict and ven dey grow old, dey’ll tank me for it!</p> + +<div class="direction"> + +<p>[<i>He sits down at the table and motions <span class="smcap">Emil</span> to his +seat again. <span class="smcap">Emil</span> sidles into his chair guardedly. +<span class="smcap">Pa Fishyer</span> begins his meal, dipping his chunk +of rye bread in the gravy. <span class="smcap">Miss Page</span> notices the +looks of hatred darted at <span class="smcap">Pa Fishyer</span> by both +<span class="smcap">Annie</span> and <span class="smcap">Emil</span>.</i>]</p> + +</div> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>[<i>Curiously.</i>] And—did you love your father, Mr. +Fishyer?</p> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>[<i>Taken aback.</i>] Lofe? [<i>He stops with his coffee +<span class="pagenum" id="Page_45">[45]</span>cup half-way.</i>] Shure, I lofe him ven I respect him! +[<i>Grimly.</i>] Huh! [<i>Cracking an imaginary whip.</i>] +He’d made us dance to de muzik off de stick ef ve +didn’t lofe him! Shure.... [<i>He pauses.</i>] ... Shure, +de children alvays lofe ... [<i>Fixes his eye on <span class="smcap">Emil</span> +who immediately stops drinking his coffee.</i>] ... de +fadder!</p> + +<div class="direction"> + +<p>[<i><span class="smcap">Emil</span> draws back in consternation.</i>]</p> + +</div> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>[<i>Seeing the futility of the situation, turns thoughtfully +to the sofa for her gloves and purse.</i>] Well, it’s +late and I must be going! [<i>She pauses a second in +thought, then comes to a decision.</i>] By the way, Mr. +Fishyer, would you mind if I take Annie with me?</p> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>Right avay? I vanted to giff her a good talkin’ to, +yet!</p> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>[<i>Pulling on her gloves.</i>] I’m so sorry, but I’m +leaving for the country early in the morning....</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>[<i>Staring fixedly at <span class="smcap">Miss Page</span>.</i>] De c-country?</p> + +<p><span class="pagenum" id="Page_46">[46]</span></p> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>[<i>Smiling at her, very gently.</i>] The <em>real</em> country, +Mrs. Fishyer!</p> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>[<i>He grunts, between mouthfuls.</i>] Shure, mit yuh +it’s all right! [<i>Over his shoulder to <span class="smcap">Annie</span>.</i>] Put on +yur tings, Annie!</p> + +<div class="direction"> + +<p>[<i>For a moment, while his back is turned, <span class="smcap">Ma Fishyer</span> +crushes <span class="smcap">Annie</span> sobbingly to her breast, kissing +her again and again.</i>]</p> + +</div> + +<p class="speaker"><span class="smcap">Annie</span></p> + +<p>[<i>Covering her <span class="smcap">Mother’s</span> tear-stained cheeks with +kisses, she whispers brokenly.</i>] Don’t Ma, don’t, I’ll +be good! I’ll be good!</p> + +<p class="speaker"><span class="smcap">Ma Fishyer</span></p> + +<p>[<i>Sobs, clinging to her.</i>] Annie ... [<i><span class="smcap">Miss Page</span>, +separating the two, holds <span class="smcap">Ma Fishyer</span> tight in her +arms.</i>] Little Annie!</p> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>[<i>While <span class="smcap">Annie</span> gets her coat and hat from the coat +rack.</i>] Good-bye, Mrs. Fishyer, you needn’t worry! +[<i>Looks sternly at <span class="smcap">Pa Fishyer</span>, unconcernedly, eating +his meal.</i>] I’ll take good care of your Annie!</p> + +<div class="direction"> + +<p>[<i><span class="smcap">Ma Fishyer</span>, unable to utter a word, leans over and +<span class="pagenum" id="Page_47">[47]</span>kisses <span class="smcap">Miss Page’s</span> hand. <span class="smcap">Miss Page</span> turns and +mounts the stairs leading to the areaway. As she +opens the door, <span class="smcap">Fishyer</span> looks up.</i>]</p> + +</div> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>Good-bye, Mis’, and ef she don’t behave herself +... [<i><span class="smcap">Annie</span> clings to her. He balls his fist.</i>] +... yuh just let me know!</p> + +<p class="speaker"><span class="smcap">Miss Page</span></p> + +<p>[<i>Her arm protectingly around <span class="smcap">Annie</span>, she eyes +him, half sadly, half ironically.</i>] Yes, indeed! You’d +be a <em>great</em> help!</p> + +<p class="speaker"><span class="smcap">Fishyer</span></p> + +<p>[<i>Nods his self-satisfaction and takes his second +cupful of coffee.</i>] Shure!</p> + +<div class="direction"> + +<p>[<i>The curtain descends as <span class="smcap">Ma Fishyer</span> leans heavily +against <span class="smcap">Emil’s</span> chair, her eyes following the two +disappearing through the doorway.</i>]</p> + +</div> + +<p class="titlepage allsmcap">CURTAIN</p> + +<hr class="chap x-ebookmaker-drop" aria-hidden="true"> + +<div class="chapter"> + +<figure class="figcenter illowp48" id="illus2" style="max-width: 28.125em;"> + <img class="w100" src="images/illus2.jpg" alt="Florence Thompson as + Mrs. Floyd | Harriet Allyn as Ma Fishyer | Margaret Moore as Miss + Page | Curt Benisch as Pa Fishyer | Charles J. White as Emil | Gladys + Pfeffer as Annie"> + <figcaption> + <p><span class="smcap">The cast of “The Undercurrent” at the Palace + Theatre, New York City, January 20-26, 1929</span></p> + </figcaption> +</figure> + +<figure class="figcenter illowp100" id="illus3" style="max-width: 43.75em;"> + <img class="w100" src="images/illus3.jpg" alt=""> + <figcaption> + <p>SCENE DESIGN</p> + <p>‘THE UNDERCURRENT’</p> + </figcaption> +</figure> + +<figure class="figcenter illowp100" id="illus4" style="max-width: 43.75em;"> + <img class="w100" src="images/illus4.jpg" alt=""> + <figcaption> + <p><span class="smcap">Los Angeles, California, October 7-13, 1928</span></p> + </figcaption> +</figure> + +<p><span class="pagenum" id="Page_48">[48]</span></p> + +<figure class="figcenter illowp42" id="illus5" style="max-width: 25.0em;"> + <img class="w100" src="images/illus5.jpg" alt=""> + <figcaption> + <p><i>LOS ANGELES EXAMINER</i> + OCTOBER 19, 1928</p> + <p>THE TURNING POINT</p> + <p>GLADYS PFEFFER and CURT BENISCH in “The + Undercurrent,” at the Hillstreet.—(Drawing by + Ellen Danar.)</p> + </figcaption> +</figure> + +</div> + +<hr class="chap x-ebookmaker-drop" aria-hidden="true"> + +<div class="chapter"> + +<p><span class="pagenum" id="Page_49">[49]</span></p> + +<h2 class="nobreak" id="THE_PRESS">THE PRESS</h2> + +<p><span class="pagenum" id="Page_50">[50]</span></p> + +</div> + +<hr class="chap x-ebookmaker-drop" aria-hidden="true"> + +<div class="chapter"> + +<p><span class="pagenum" id="Page_51">[51]</span></p> + +<h2 class="nobreak" id="THE_PRESS_1">THE PRESS</h2> + +</div> + +<h3>HOW YOUR MONEY HELPS</h3> + +<p>The varied phases of an organization like the Albany +Community Chest are services that are difficult to illustrate +in any vivid way to the public that supports the +philanthropy, and much of its praise must needs go +unsung, if not unhonored.</p> + +<p>Twenty-five per cent of the funds collected for the +Chest are devoted to extending and supporting social +service that acts as a sort of human adjuster in homes +where things greatly need adjusting. The Chest can +claim a friend; one that is not directly propaganda for +its work, in the playlet, “The Undercurrent,” that is +being acted at Proctor’s Grand. It is the work of Miss +Fay Ehlert of Chicago and reveals the value of a woman +social service worker in entering a squalid home where +the father’s domineering and brutalizing mind is driving +his young daughter from the home to possible disaster +away from it. In fact, she is accused of theft, and it +is the understanding and sympathy of this social worker +that saves the girl. She tells a brave falsehood as to the +girl’s previous whereabouts and saves her thus from the +wrath of the father. Then she takes the girl with her to +<span class="pagenum" id="Page_52">[52]</span>make the untruth come true in a finer and more wholesome +atmosphere for the girl.</p> + +<p>Probably Miss Ehlert has seen some such incident in +service work in Chicago. One could find it in any city +and it is this unofficial court of domestic relations that +the Albany Community Chest partially supports in its +work of helping to make better citizens or to save normally +good citizens from demoralizing trends.</p> + +<p>“The Undercurrent” is a forceful and convincing illustration +of the good your money does when it is given to +the Community Chest.</p> + +<p class="right">—Editorial in <i>The Knickerbocker Press</i>, Albany, N. Y., April 9, 1929.</p> + +<figure class="figcenter illowp100" style="max-width: 6.25em;"> + <img class="w100" src="images/deco.jpg" alt="" data-role="presentation"> +</figure> + +<h3>THE THEATRE AND SOCIAL SERVICE</h3> + +<p>In every city and town nowadays there is a social service +organization, or a group of unselfish citizens—usually +women—devoted to the betterment of home life among +the poor, the ignorant and even lawless families. It is +work that requires infinite tact, patience and sympathy +with the sorrows and trials of unfortunate and unhappy +families. In the great cities the social service workers are +often endowed organizations. In small communities they +depend upon the occasional and voluntary donations of +prosperous neighbors. The very confidential nature of +the quiet ministrations of the social service worker prevents +the exploitation of their achievements or the publication +of their daily and nightly tasks in detail.</p> + +<p>Many generous givers to this priceless cause may not +<span class="pagenum" id="Page_53">[53]</span>realize how their money is applied, how it helps not +only the poor but also misguided families in which +cruelty, domestic misunderstanding and deceit are +making for the disruption of what should be happy +homes.</p> + +<p>There is now touring the R-K-O vaudeville circuit, a +one-act play called “The Undercurrent,” which not only +throws the searchlight of truth upon the motives and +deeds of the social service worker, but incidentally illustrates +how the theatre may exert a helpful influence +towards the extension and understanding of non-sectarian +social service.</p> + +<p>This little play, written by Mrs. Fay Ehlert, wife of +the Chilean Consul in Chicago, and herself a social +service worker, has been one of the popular successes +of major vaudeville in every theatre where it has been +presented. It is neither propaganda nor preachment, +standing bravely upon its own feet as a tense, tender and +convincing record of unhappy family life into which a +wise and womanly social service friend is able to bring +peace and a large measure of happiness. The phenomenal +popular success of this dramatic sketch should impress +practical theatrical producers that they can exercise a +powerful (and profitable) hand in helping to save normally +good citizens from demoralizing trends by presenting +true and compelling plays or sketches which demonstrate +with dramatic fidelity such incidents of life and +service as those depicted in “The Undercurrent.”</p> + +<p>Such a play, absorbing and timely in interest, not only +designates the special humanitarian deeds of such workers +in social service, but also informs the pleased audience +<span class="pagenum" id="Page_54">[54]</span>how the money spent by the public in such channels +helps the unhappy without betraying confidences +and without boastful stories in the newspapers.</p> + +<p class="right">—Floyd B. Scott in <i>The Magazine of Vaudeville</i>, April 21, 1929.</p> + +<figure class="figcenter illowp100" style="max-width: 6.25em;"> + <img class="w100" src="images/deco.jpg" alt="" data-role="presentation"> +</figure> + +<h3>A THEATRICAL VENTURE</h3> + +<p>For some years American theatrical managers have +defended their choice of programs by pleading that they +must give the public what it wants. Their critics have +replied that the managers have signally failed to understand +the public taste. They have backed up this assertion +by pointing to the astonishing growth in recent +years of the Little Theatre movement.</p> + +<p>The amateur theatre is to-day not only holding its own +against the professional stage—it has actually begun to +invade it. For evidence of this one has only to cite the +one-act play, “The Undercurrent,” by Fay Ehlert, which +heads the bill this week at the Orpheum Theatre.</p> + +<p>“The Undercurrent,” it may be recalled, was this year’s +prize-winning play of the Chicago Little Theatre tournament....</p> + +<p>Arrangements were made under which the original +cast should tour with “The Undercurrent” during the +summer recess. No attempt was to be made to professionalize +the production. All its fine amateur quality +with its refreshing freedom from conventionalized forms +was to be retained....</p> + +<p>What the venture may mean to the cause of good +drama can be easily foreseen. It will enlarge the scope +and value of the Little Theatre movement everywhere, +<span class="pagenum" id="Page_55">[55]</span>and encourage the writing and presenting of more and +better dramatic sketches. It will cultivate and improve +the public taste and re-create public interest in the drama. +And it will bring some fine new blood into the acting +profession.</p> + +<p class="right">—Editorial in <i>The Winnipeg Tribune</i>, Friday, August 24, 1928.</p> + +<figure class="figcenter illowp100" style="max-width: 6.25em;"> + <img class="w100" src="images/deco.jpg" alt="" data-role="presentation"> +</figure> + +<h3>R-K-O WATCHING LITTLE THEATRE MOVEMENT</h3> + +<p class="center">President Brown of Radio-Keith-Orpheum Sends +Scouts to Review and Secure Best Playlet</p> + +<p>Hiram S. Brown, president of the Radio-Keith-Orpheum +Vaudeville Circuit, in order to encourage and +acquire good short plays, dramatic sketches and worthy +one-act playlets, has advised local representatives to review +the tournaments and independent reproductions of +the Little Theatre movements, throughout the country. +The immediate and continued success of “The Undercurrent,” +the prize-winner of the Chicago Little Theatre +tournament—now touring the R-K-O Circuit, has been +so marked that Mr. Brown and George A. Godfrey, +chief of the booking department, have determined to +continue a plan of “prospecting” and developing other +products of the Little Theatre.</p> + +<p>“The Undercurrent,” after months of brilliant success, +starting in the R-K-O houses of Chicago, came East +to further emphasize the fact that vaudeville patrons are +eager for this sort of innovation in their favorite form +of amusement. It played Keith’s Palace a short while +<span class="pagenum" id="Page_56">[56]</span>ago, and at the B. F. Keith Memorial Theatre, Boston, +last week, this short play became an immediate success +with the Boston vaudeville public.</p> + +<p>A leading editorial (not a dramatic review) in the +Boston Post says of it:</p> + +<p>“It is neither sensational nor flamboyant, but a burning +human drama, twenty minutes of thrilling suspense +with a touching climax. There is real hope for the legitimate +drama when a vaudeville house makes a play like +this one a feature on the bill.”</p> + +<p>The original cast of “The Undercurrent” was made up +of talented amateurs, but its merits were obvious and +proved to be exactly to the tastes and preferences of +every Vaudeville audience which has witnessed it.</p> + +<p>Radio-Keith-Orpheum now is “hot on the trail” of +more dramatic one-acters of like quality.</p> + +<p class="right">—<i>The Magazine of Vaudeville</i>, Palace Theatre, New York City, March 31, 1929.</p> + +<figure class="figcenter illowp100" style="max-width: 6.25em;"> + <img class="w100" src="images/deco.jpg" alt="" data-role="presentation"> +</figure> + +<h3>IN A VAUDEVILLE PROGRAM</h3> + +<p>One doesn’t expect to find a sermon in a vaudeville +program. Yet one of the most powerful sermons ever +presented in Cheyenne was a feature of the program of +the Lincoln theater Thursday evening. It was Fay Ehlert’s +playlette, “The Undercurrent.” Too bad that every +parent in Cheyenne could not have seen that tabloid +drama. To have done so would have been wholesome +for some, perhaps for many. The observation may be +validly applied in virtually every community of more +than a few families.</p> + +<p><span class="pagenum" id="Page_57">[57]</span></p> + +<p>“The Undercurrent” is repulsive. It is brutal. It rasps +the sensibilities. It emphasizes excrutiatingly the significance +of the phrase “the truth hurts.” The hurting, however, +the repulsiveness, the brutality, are wholesome in +effect.</p> + +<p>The little drama, the whole course of which is run in +less time than is required for presentation of one act of +an ordinary play, deals with a self-centered parent’s inability +to understand that conceptions of parental responsibility +and authority which were forced on him +in his youth are incongruous and impossible in another +environment and another period. The effects of his blind +wrath, which he regards as righteous, make the observer +shudder.</p> + +<p>The little play’s worth lies in that there is in many, +many homes, some taint of the immorally “moral” atmosphere +which blighted the home which the drama +depicts. Generally, happily, this taint is slight, but it is, +nevertheless, a thing that may have dreadful consequences. +To have the fact called to attention is good for +the soul.</p> + +<p>Mrs. Ehlert’s little masterpiece undoubtedly has sweetened +the atmosphere of many a home.</p> + +<p class="right">—Editorial in <i>Wyoming State Tribune</i>, October 26, 1928.</p> + +<figure class="figcenter illowp100" style="max-width: 6.25em;"> + <img class="w100" src="images/deco.jpg" alt="" data-role="presentation"> +</figure> + +<h3>HOPE FOR THE THEATRE</h3> + +<p>The work which the “Little Theatres” of the country +are doing can best be judged by the prize-winning play +of the Chicago Little Theatre Tournament, which is on +<span class="pagenum" id="Page_58">[58]</span>the bill at Keith’s Memorial Theatre this week. This play, +“The Undercurrent,” written by Fay Ehlert, has had a +remarkable success.</p> + +<p>It is neither sensational nor flamboyant, but a burning +human drama, 20 minutes of thrilling suspense with +a touching climax. There is a real hope for the legitimate +drama when a vaudeville house makes a play like this +one a feature of the bill.</p> + +<p class="right">—Editorial in <i>The Boston Post</i>, Monday, March 25, 1929.</p> + +<figure class="figcenter illowp100" style="max-width: 6.25em;"> + <img class="w100" src="images/deco.jpg" alt="" data-role="presentation"> +</figure> + +<h3>WHAT ONE WOMAN DID</h3> + +<p>When Mrs. Fay Ehlert brought “The Undercurrent” +to Broadway a few weeks ago, she proved that she had +the courage of her convictions. So also did the bookers—for +playlets had not been in such good standing in +major vaudeville. In fact, there had been evinced a general +disinclination to book playlets of any kind, with +special reference, of course, to those of a serious nature. +However, the critics upon reviewing “The Undercurrent” +during its run at the New York Palace were so enthusiastic +that there no longer was any doubt as to the way +in which this particular play in little was regarded by +the critical fraternity and by those who do not always +agree with it—that is, our theatregoers. The bookers also +showed what they thought of the whole proceeding by +freely routing the playlet into the larger houses of the +East.</p> + +<p>What particularly interested dramatic authors, however, +<span class="pagenum" id="Page_59">[59]</span>was the fact that “The Undercurrent” brought back, +in some degree at least, the vogue of the playlet, +although, of course in the final analysis, the quality +of the dramalets presented by other writers must be the +deciding element in the decision as to the future of the +playlet in vaudeville. At any rate, the clever Mrs. Ehlert +must be given credit for having written a serious, one +might almost say, sombre playlet so filled with the +various essentials of living and with characterizations +so skillfully and effectively drawn that she has turned the +eyes of the critical in the direction of a form of entertainment +which had so long been unhonored and unsung, +and which seems at last to be coming into its own again. +In other words, it does not really seem to be a question +of whether the public wants serious playlets but of +whether other scripts can be found that contain the elements +of humanity and the struggle against the fates +as shown so effectively and sympathetically in “The Undercurrent.”</p> + +<p>Fay Ehlert may be regarded somewhat as a female +Christopher Columbus, who has charted new seas and +sailed into port with colors flying.</p> + +<p class="right">—Editorial in <i>The Vaudeville News and New York Star</i>, March 16, 1929.</p> + +<figure class="figcenter illowp100" style="max-width: 6.25em;"> + <img class="w100" src="images/deco.jpg" alt="" data-role="presentation"> +</figure> + +<h3>“THE UNDERCURRENT”</h3> + +<p>Thousands who saw and heard “The Undercurrent” +at the Orpheum last week were given an unforgettable +lesson. Thousands more might hear it to better advantage +as time goes along and the country and society generally +<span class="pagenum" id="Page_60">[60]</span>would be better for it. In brief, a tyrannical father brow-beating +wife and children with rules of conduct even +down to terrorism over the most trivial incidents, substituted +fear for love in the hearts in the home circle. +“Bring up a child in the way he should go” was his axiom +which he enforced with the big stick. The result was +what might be expected where the sublime note of the +Nazarene, “Love one another,” was forgotten. A social +worker checking up a wayward child uncovered the misery +of wife and children and rescued the girl.</p> + +<p>We don’t know how far such rigidity in loveless homes +extends. It does not seem possible that father or mother +could exert such tyranny. But there is no question that +the attitude which this sketch so powerfully portrays +is a serious factor in the making of society as it is to-day. +Suppression by force creates the situation that leads to +an explosion with disastrous results. This was the case +not many years ago with the Romanoff dynasty of Russia; +it is the inevitable result in the nation, the state and in +the home. We do not doubt that dregs in the social scale +too often result from blind, unintelligent, inhuman tyranny +in the home. The Teacher of Nazareth certainly +reminded the world of that when he said of the commandments, +“The greatest of these is love.”</p> + +<p class="right">—Editorial in <i>Evening World Herald</i>, Omaha, Neb., November 12, 1928.</p> + +<figure class="figcenter illowp100" style="max-width: 6.25em;"> + <img class="w100" src="images/deco.jpg" alt="" data-role="presentation"> +</figure> + +<h3>THE AMATEUR ARRIVES</h3> + +<p>At what stage in its development the tribe began to +seek means of collectively expressing itself must be left +<span class="pagenum" id="Page_61">[61]</span>to the author of the “Golden Bough” to determine. Rudyard +Kipling, however, having made some slight study +of the organization of the Solutreans, arrived at the conclusion +that the modes adopted about the time the glacial +ice began to retreat from France and Great Britain were +numerous and altogether sound. “There are nine-and-sixty +ways of composing tribal lays, and every single one +of them is right,” he observes.</p> + +<p>To-day the tribe still has its lays, but it calls them one-act +plays by amateurs. They are just as authentic as the +lays of the Solutreans, but the professional producer +labors under the obsession that, whether there are sixty-nine +ways, or more, or less, of writing them, every single +one of them is wrong from the standpoint of the regular +theatre. The professional producer has a formula the +substance of which is that a play, to succeed, must be +written to what is understood to be the order of the +audience. Certain things that will “get across” must be +put into it; certain others must be carefully excluded. +So audiences listen year after year to standardized productions, +interspersed at rare intervals by the works of +the few men of genius who are strong enough to make +their own rules....</p> + +<p>The amateur, therefore, is driven to the Little Theatre +and this at once effectually damns him in the eyes of +professional producer and professional critic alike. As +a famous Chicago critic wrote, nothing that is any good +can come out of the Little Theatre, and it rather increases +its handicap if a playlet wins a prize in a Little +Theatre contest.</p> + +<p><span class="pagenum" id="Page_62">[62]</span></p> + +<p>The impossible, however, has happened. A Little +Theatre play has not only won acceptance on the Orpheum +Circuit but has become the head-liner. The play +is “The Undercurrent,” and it is astonishingly outside +the limits of the formula mentioned above. The author, +Mrs. Fay Ehlert, owes her first chance to enter the field +in competition with the “regulars” to the chairman of +the circuit....</p> + +<p>He was willing to try anything once, so he had it put +on at a Sunday matinée in Chicago, before the hardest +possible audience. It was not even set down on the bill +for that first try-out. It was not only at the disadvantage +of being the curtain-raiser, but it was acted by amateurs, +students and professors of the Northwestern University, +who, unaccustomed to the auditorium, spoke in tones +too low. Furthermore, it was a “sad” play. In short, every +element was present that seemed from the beginning to +preclude success....</p> + +<p>But it succeeded as only one play in years succeeds. +The hard-faced men who attend Sunday afternoon performances +in Chicago sat silent for a moment when the +curtain fell and then broke into tremendous applause, +giving the first of the series of repeated curtain-calls that +was to mark the subsequent progress of “The Undercurrent” +on the Orpheum Circuit. Localized as the action +is in a city of the United States, and limited in time +almost to the moment, the playlet, nevertheless, contains +elements of universality that have made it as acceptable +in Canada as across the border. It was presented for the +<span class="pagenum" id="Page_63">[63]</span>first time in Vancouver on Monday at the Orpheum and +is on the bill for the rest of the week.</p> + +<p>Criticism of the play as a play appears in another +column of The Morning Star. Suffice it to say here, that +whatever its strictly dramatic value, it demonstrates that +the tribal lay is rightly written when it is so written as +to tell the tribal story, and without any design of effecting +specific reactions among its auditors.</p> + +<p>In other words, if the play, whether a one-act playlet +or a drama in three acts, truly interprets the tragedy and +comedy of life, the reactions will take care of themselves, +the climaxes will come in their natural places, and instead +of a machine-made production, trim and neat, a living +thing will appear which its very excresences and awkwardnesses +will only make more vital.</p> + +<p>“The Undercurrent” will not be the last Little Theatre +play to be billed along with “sister acts” and song-and-dance +features. The tribe is likely to hear its own lays +hereafter in the middle of the clearing.</p> + +<p class="right">—Editorial in <i>The Morning Star</i>, Vancouver, B. C., September 4, 1928.</p> + +<figure class="figcenter illowp100" style="max-width: 6.25em;"> + <img class="w100" src="images/deco.jpg" alt="" data-role="presentation"> +</figure> + +<h3>IGNORANT MAKE VIRTUE A CRIME</h3> + +<p>It is seldom that a vaudeville audience, or for that +matter any other audience, has an opportunity of seeing +so perfect a piece of stagecraft as “The Undercurrent,” +which was shown last week at Nixon’s Grand Opera +House on the R-K-O circuit.</p> + +<p><span class="pagenum" id="Page_64">[64]</span></p> + +<p>The one-act play presented a vivid picture of life, the +characters being a brutal janitor and his brow-beaten +wife, their son and daughter, a mischievous neighbor +and a social worker.</p> + +<p>The playlet showed many things. It showed how, in +the hands of the ignorant, virtue is transformed into a +cruel crime. Pa Fishyer has a code of good conduct which +he instills into his family with blows and paternal tyranny. +The family is spiritually sick, and they fear and +hate him. The playlet is another evidence of growing +self-consciousness and a return visit would be more than +welcome.</p> + +<p class="right">—Editorial in <i>Philadelphia Daily News</i>, March 18, 1929.</p> + +<figure class="figcenter illowp100" style="max-width: 6.25em;"> + <img class="w100" src="images/deco.jpg" alt="" data-role="presentation"> +</figure> + +<h3>MRS. FAY EHLERT</h3> + +<p>To-day, at 1 <span class="allsmcap">P.M.</span>, in Beury Auditorium, the author +of “The Undercurrent,” a one-act play, will address +Temple University students under the auspices of the +Templayers.</p> + +<p>It is interesting to note that “The Undercurrent,” +which Mrs. Fay Ehlert submitted to the Little Theatre +tournament in Chicago, won the Edith Rockefeller McCormick +cup, the first prize. What is even more interesting +and should arouse the investigation by students +is that this playlet is regarded by many critics as the greatest +one-act production ever written.</p> + +<p>Temple students should avail themselves of this rare +opportunity to meet or listen to Mrs. Ehlert. There is +<span class="pagenum" id="Page_65">[65]</span>no doubt that she will have a message to give to her +audience, especially that group interested in contemporaneous +dramatics. Occasions like this help to round up +the education of college students for they bring to the +college speakers who are in actual contact with authorities +in the work-a-day practical world.</p> + +<p class="right">—Editorial in <i>Temple University News</i>, Philadelphia, Pa., March 8, 1929.</p> + +<figure class="figcenter illowp100" style="max-width: 6.25em;"> + <img class="w100" src="images/deco.jpg" alt="" data-role="presentation"> +</figure> + +<p>The thanks of a public extending far beyond the comparatively +narrow limits of vaudeville most assuredly will +be heaped on President Hiram S. Brown of R-K-O for +his recent declaration in favor of stretching the major +circuit’s policy in regard to the one-act play....</p> + +<p>Often, in fact much too often, the former administrations +of the big time have promised solemnly that they +will boost the one-act play.... It has almost reached +the point, however, where the cry of “Wolf” has been +given too often. Yet, with the undisputed success of Fay +Ehlert’s classic of a one-acter, <i>The Undercurrent</i>, ringing +in our ears, we can conceive of the big time being +really in earnest now to boost sketch material as it has +never been boosted before. After all, <i>The Undercurrent</i> +is making money for R-K-O, and it is creating good will. +Every movement needs its leader. The dramatic sketch +in vaudeville has one in Mrs. Ehlert and her knockout +of a sketch.</p> + +<p>Bringing the one-acter back to its old place in the +<span class="pagenum" id="Page_66">[66]</span>vaudeville realm will mean more to vaudeville (as vaudeville +and not as an impersonal link in a monopolistic +chain) than any single factor we can think of at this +writing. The sketch fills a place that cannot be usurped +by flash and acrobatic acts and “whoopee” units. One +can’t get away from the fact that there has been something +vitally lacking in vaudeville these last several +seasons while the sketch has been wearing the weeds +as a grass widow, divorced from its rightful mate, vaudeville.</p> + +<p>We like and heartily applaud Hi Brown’s publicized +determination to boost the one-acter. He can stop our +little show any day in the week by proving to us +and all the others interested that he means what he +says.</p> + +<p class="right">—Editorial in <i>The Billboard</i>, April 13, 1929.</p> + +<figure class="figcenter illowp100" style="max-width: 6.25em;"> + <img class="w100" src="images/deco.jpg" alt="" data-role="presentation"> +</figure> + +<h3>THE THEATRE’S POWER</h3> + +<p>One of the splendid examples of the excellent work by +the “Little Theatres” of this country is to be staged in +Albany next week in Fay Ehlert’s “The Undercurrent,” +booked for the Grand.</p> + +<p>In these days of “whoopee” shows, canned music and +celuloid thrillers it is refreshing to find, of all places, in +a vaudeville bill a burning human drama that drives +home a moral lesson, vividly and concisely and makes +<span class="pagenum" id="Page_67">[67]</span>one feel that the theatre is actually a force in the development +of American character.</p> + +<p>There is a real hope for the legitimate drama when a +vaudeville house makes a play like this one a feature +of its bill.</p> + +<p class="right">—Editorial in <i>The Albany Citizen</i>, April 5, 1929.</p> + +<figure class="figcenter illowp100" style="max-width: 6.25em;"> + <img class="w100" src="images/deco.jpg" alt="" data-role="presentation"> +</figure> + +<h3>THE UNDERCURRENT</h3> + +<p>Ugyancsak nyitott szemmel kell a világban járni +annak, aki a minden szépitgetés nélküli reális életet +akarja a szinpadra vinni a maga kegyetlen, hideg és +kiméletlen valóságában. A körülöttük mozgó zavaros +athmoszféra minden furcsaságát és szertelenségét +legkevésbé azok érzékelik, kik szenvedő alanyai az +élet kisebb-nagyobb tragikumának.</p> + +<p>Más légkörben élő és tisztultabb erkölcsi érzékkel +rendelkező egyének képesek csak megérteni azokat +a szenvedéseket és belőlük levonható tanulságokat, +mik az emberi erények és gyengeségek összeütközéséből +keletkeznek.</p> + +<p>A mindennapi élet soha meg nem szűnő apró +tragikumait szinpadra csak lehet vinni, ha azok a +megszólalásig hüvisszatükröződései az életnek. Máskülönben +unalmas, szintelen és erőtlen a darab, mert +apró drámák — kis szenzációk.</p> + +<p>A nyomort, sőtétséget és emberi szenvedést megkapóbban +<span class="pagenum" id="Page_68">[68]</span>Maxim Gorkijnál senki sem tudta szinpadra +vinni. Azonban Gorkij egy férfi volt, kinek +irányát követni csak férfiak merészelték, mert +alacsonyabb lelki életet élők világának tanulmányozására +a gyengébb nem idegrendszere nem volt +berendezve.</p> + +<p>Azonban a modern nő lépést tart a férfiakkal és +nem riad vissza olyan problémák fejtegetésétől, +mikre a tegnap nője még borzalommal gondolt +volna. Egy ilyen uttörő, modern nő Fay Ehlert, ki +“Undercurrent” cimü egy felvonásos drámájában +merész kézzel, de érző szivvel tár elénk egy mindennapi +életképet, melynek milliőjét Gorkij sem +választhatta volna meg reálisabban. Ez az izigvérig +modern nő megtalálja még a legsötétebb környezetben +is a jót és nemeset, az egyszerü külső +alatt is finoman érzékeny szivet, s a határtalan anyai +szeretetnek és aggodalomnak egyszerü keresetlen +szavakban annyi melegseggel képes kifejezést adni, +hogy a közönség átérzi, sőt átéli a szeme előtt +lejátszódó kis tragédia minden fájdalmát.</p> + +<p class="right">—Editorial in <i>Philadelphia I Függetlenség—Independence</i>, March 15, 1929.</p> + +<figure class="figcenter illowp100" style="max-width: 6.25em;"> + <img class="w100" src="images/deco.jpg" alt="" data-role="presentation"> +</figure> + +<h3>“THE UNDERCURRENT”</h3> + +<p>Fay Ehlerts packende Skizze aus dem Leben. +Zugstück in Keith’s Palace Theater.</p> + +<p>Wer in ein Vaudeville-Theater geht, weiß meistens schon +im voraus, was er zu sehen bekommt. Manchmal wird man +<span class="pagenum" id="Page_69">[69]</span>aber überrascht, angenehm überrascht, wie diese Woche im +Keith’s Palace Theater. Tanz und Gesang rauschen an +uns vorüber, auf einmal, plötzlich und unerwartet, steht +man mitten im Leben, draußen auf der Straße der Großstadt, +oder in der “Basement”-Küche eines Hausverwalters, +des “Janitors” eines amerikanischen Wohnhauses. Die +Vorgänge in der Familie versetzen uns in die rauhe Wirklichkeit. +Der Vater glaubt seinen Erziehungspflichten zu +genügen, wenn er seine zwei Kinder, Annie und Emil, +recht streng behandelt, zu sklavischen Gehorsam erzieht, so +wie man es “vordem” mit ihm gemacht hat. Er erreicht +aber gerade das Gegenteil. Die Mutter erzittert in Furcht +vor ihm, und die Kinder schlagen den falschen Weg ein. +Wir lesen so viel über Kindererziehung und modernes +Familienleben, hier ist ein-aktiges Drama, “The Undercurrent” +von Fay Ehlert, das jeder Vater und jede Mutter +sich ansehen sollte.</p> + +<p>Dem wahren Leber entnommen, packt das Stück mit +unwiderstehlicher Gewalt und gibt jedem, den Vätern, +Müttern, getreuen Nachbarn und desgleichen, eine gute +Lehre mit auf den Weg. Kein Wunder, daß das Haus +nach der Vorstellung in Beifallsstürme ausbrach und der +Vorhang sich achtmal hob und senkte, die Zuschauer im +Theater sitzen blieben, um das Stück ein zweites Mal zu +sehen, während inzwischen draußen auf der Straße die +Schaulustigen in langen Reihen standen und ungeduldig +auf Einlaß warteten. Eine wunderbare Skizze, von Fay +Ehlert den Tiefen des Menschenherzens abgelauscht!</p> + +<p>Die Verfasserin hat das Stück selbst in Szene gesetzt und +sich auch hierbei als Künstlerin erwiesen. Gespielt wurde +von den Vertretern der verschiedenen Rollen mit staunenswerter +Echtheit. Da muß zuerst Harriet Allyn erwähnt +werden, die in der Rolle der Mutter eigentlich einen +Charakter schuf, der im Theaterleben bis jetzt nur sehr +<span class="pagenum" id="Page_70">[70]</span>selten zu finden war, eine von Angst und Fürsorge für die +Kinder und unterwürfigem Gehorsam gegen den Mann +zermürbte Frau.</p> + +<p>Die Unterströmung, die das ganze Stück durchzieht, ist +das Wesen des Vaters. Er hat die gute Absicht, seine +Kinder ordentlich zu erziehen. Manchmal fühlt man Mitleid +mit dem Mann, der in seiner Unkenntnis der menschlichen +Psyche den Bogen allzustraff spannt. Wir könnten +uns keinen besseren Vertreter für die Rolle denken als Curt +Benisch. Seine verhaltene Wut, seine zurückgedämmte +Kraft, das Bewußtsein, daß er unbedingt recht handelt nach +seinen Begriffen, das alles wußte Curt Benisch in großem +Künstlertum zum Ausdruck zu bringen. Die Zuschauer +saßen in nervöser Spannung, daß sein Temperament unerwartet +auch über sie hereinbrechen möchte.</p> + +<p>Fast ohne ein Wort zu sprechen, zeichnete Charles White +den Sohn; in Kostüm und Ausdruck durchaus lebenswahr +wird die Tochter Annïe von Gladys Pfeffer gespielt; die +schwatzhafte, klatschsüchtige Nachbarin und das versöhnende +Element, die Wohlfahrtsdame, finden in Florence Thompson +und Ethel Swift geeignete Vertreter. Alles in allem: +ein glänzendes Stück, brillant inszeniert und ganz hervorragend +gespielt. Hut ab!</p> + +<p class="right">—<i>Wächter und Anzeiger</i>, Cleveland, Ohio, December 12, 1928.</p> + +<figure class="figcenter illowp100" style="max-width: 6.25em;"> + <img class="w100" src="images/deco.jpg" alt="" data-role="presentation"> +</figure> + +<h3>PRZEDSTAWIENIE SŁAWNEJ AUTORKI</h3> + +<p>W naszem mieście będziemy mieli sposobność +zobaczyć po raz pierwszy sztukę p. t. “The Undercurrent,” +napisaną przez Panią Fay Ehlert, żonę +<span class="pagenum" id="Page_71">[71]</span>Konsula tego kraju do Chile. Sztuka ta jest napisaną +na tle życia ubogiego stróża, mieszkającego +w suterynie wraz z rodziną.</p> + +<p>Sztuka “The Undercurrent” spotkała się z wielu +trudnościami i przeszkodami, zanim dostała się na +scenę. Wiadomem jest, jak nieraz autor, bardzo +utalentowany, pisze, pracuje z zaparciem siebie, +wykończa swoje dzieło w najlepszej myśli, w najlepszej +wierze—i w końcu spotyka się z zawodem, +z trudnościami różnemi, zanim jego dzieło jest +przyjęte przez któregoś z dyrektorów teatralnych. +Taki też los spotkał i Panią Ehlert, która wszystkie +siły swego talentu wytężała i pracowała nad +wykończeniem swej sztuki. Wiele by trzeba było +poświęcić czesu, aby opisać, jakie trudności miała +Pani Ehlert, aby zwrócić uwagę któregoś z impresarjów +teatralnych na swą sztukę. Chodziła od +jednego do drugiego dyrektora i wszędzie spotykała +się z odmową. Nie dała jednak za wygraną. +Wierząc mocno w gruntowną wartość swej pracy, +swego dzieła—dopięła celu. Na sztukę jej zwrócił +uwagę jeden ze znawców, ocenił ją i wystawił na +scenie.</p> + +<p>Gdy pierwszy raz sztuka była odegrana, wywołała +ona wielki entuzjazm wśród publiczności.—Wszyscy +dyrektorzy, którzy przedtem odmówili, +zauważyli, że popełnili wielki błąd i z żalem +przyznali, że istotnie “The Undercurrent” jest +dziełem artystycznem w swym rodzaju, którego +oni nie umieli wpierw ocenić.</p> + +<p>Dobitnym dowodem zainteresowania się publiczności +<span class="pagenum" id="Page_72">[72]</span>tą sztuką jest fakt, że była ona grana od +Kalifornji do New Yorku w pierwszorzędnych +teatrach około ośmset razy.</p> + +<p>Z końcem tego tygodnia, to jest we czwartek, +piątek i sobotę, sztuka ta jest wystawiana w +teatrze Gaiety.</p> + +<p class="right">—<i>Maria G. Gomolska</i> in <i>Słowo Polskie</i>, April 19, 1929.</p> + +<figure class="figcenter illowp100" style="max-width: 6.25em;"> + <img class="w100" src="images/deco.jpg" alt="" data-role="presentation"> +</figure> + +<h3>HAIL THE PERFECT SKETCH!</h3> + +<p>Our humble genuflexions to its author, and a thousand +thanks on behalf of all interested in the furtherance of +the sketch in vaudeville to R-K-O for heaping upon it +the distinction of booking it into the Palace and the +choicest of its stands thruout the country. There may +be better one-act plays, but we haven’t seen them in +vaudeville yet. The time may come; real soon, we hope, +if the big-time executives can be made to see that vaudeville +sorely needs sketches with even an iota of the merit +of Mrs. Ehlert’s brain child. In trade terms she has brought +forth a Christ. As it winds its way thru the various sections +of the country it will preach its mission, and who +knows but at the end of its trail word will come of converts +to the Great Cause. With “The Undercurrent” +swinging along—and there’s no reason why it should not +keep up its energetic pace for a long, long time—the case +for the dramatic sketch will be kept alive. Let the protagonists +of this form of vaudeville entertainment heat +their iron while the fire is hot.</p> + +<p>Mrs. Ehlert’s playlet is a paradox of homeliness and +<span class="pagenum" id="Page_73">[73]</span>beauty, combining these qualities in a homogeneous mass +as it was permitted Abe Lincoln to do. Its drabness is +not cheap and sensational. It points no lucid moral. Like +those literary vignettes lately grown popular it presents +to us a moving, compelling slice of real-life action. It +is left for the spectator to draw his conclusions. Whatever +they may be there are few of normal intelligence who +will not react emotionally and intellectually to the problem +presented by the plotless plot.</p> + +<p>We are introduced to a janitor’s hovel in the basement +of an apartment building. We see the bull-headed, ignorant +father going thru the routine of an evening in what +he calls home. There is the warped, beaten and loving +mother; her dull, bullied son and the wayward daughter. +A slatternly neighbor comes into the scene and thru +her we are introduced into various angles of the family’s +existence. Then enters a social worker. The human +drama is on. It burns with its frankness and compels +with its character drawing. We are made to see that +the father, beaten into a senseless bully by his own progenitor, +is in turn deluded into thinking that he is successful +in beating doubtless virtue into his offspring. The +girl is by nature a good girl, but her father’s bullying +has driven her into the streets, and thence into the morals +court. The janitor prides himself on the hair-trigger control +he possesses over his children, but to those less blinded +by their own ego the boy hates him worse than rat +poison, and the girl is fast being pushed to ruin. The +social worker is evidently on the scene in the nick of +time, this being incidentally the only vestige of a plot +in the playlet. The father is about to learn of his daughter’s +<span class="pagenum" id="Page_74">[74]</span>police record from the blabbering tongue of the +neighbor when the lady of the upper strata concocts an +alibi and saves the girl from a volley of welts and punches. +Miss Social Worker takes the girl away from the cesspool—for +good. As they are leaving the janitor asks that he be +informed if the girl gives her future guardian trouble. +Miss Social Worker’s parting shot, “You’d be a great +help!” brings down the curtain.</p> + +<p>We’ve said enough about the play. As for the cast, +it is overwhelming in its fitness. The bright and particular +star, from our angle, is Harriet Allyn. In her Ma +Fishyer role she puts over a piece of character portrayal +that hasn’t been approached at the Palace since Lucille +LaVerne fried bacon in Sun Up. It won’t be long before +the money boys nab her. Curt Benisch, as Pa Fishyer, +also gives a sensational performance. He’s a tabloid of +Gregory Ratoff—and to us that means as good as they +come. Gladys Pfeffer appeals mightily as the daughter, +as does Charles White as the son. In her brief bits +Florence Thompson does a corking job of the neighbor +role. Margaret Moore was the least bit stiff in the social +worker’s part, but she’s excused on the ground that she’s +a late addition to the cast. Reception here went to six +curtain calls and a show stop.</p> + +<p class="right">—<i>Elias E. Sugarman</i> in <i>The Billboard</i>, February 2, 1929.</p> + +<figure class="figcenter illowp100" style="max-width: 6.25em;"> + <img class="w100" src="images/deco.jpg" alt="" data-role="presentation"> +</figure> + +<h3>SUPERBILL OF VAUDEVILLE ON AT THE PALACE</h3> + +<p>Despite handicaps well-nigh unsurmountable, “The +Undercurrent,” a one-act play by Fay Ehlert of Chicago, +<span class="pagenum" id="Page_75">[75]</span>not only made good at the Palace yesterday afternoon, +but scored so decisively with the hard-boiled initial +matinee audience of experienced vaudeville-goers as to +leap to a headline position on an extraordinarily good +bill—and that Palace Sunday matinee audience is seldom +stampeded by anybody. Beatrice Lillie, for example, +couldn’t get under its crust, nor Willie Collier, nor Florence +Reed, and if President Coolidge and King George +should hook up as a dancing team, they’d have to +dance as well as Bill Robinson to get by.</p> + +<p>The handicaps “The Undercurrent” faced are these:</p> + +<p>(1) It originated in a “little theatre,” and good comes +as seldom out of the “little theatre” as out of Nazareth;</p> + +<p>(2) it won first prize in a Chicago “little theatre” tournament, +the Edith Rockefeller McCormick cup, than +which nothing would seem to spell surer damnation;</p> + +<p>(3) it is presented by the same group of Evanston “little +theatre” actors who played it originally, a handicap to +be overcome only by a miracle. The Orpheum circuit +of experienced amusement purveyors felt all these things +so poignantly as to be constrained to offer an apology for +giving it a place on the hill—“encouragement of home +talent,” “civic pride,” or something like that.</p> + +<p>But “The Undercurrent” came through the ordeal +with flying colors—and despite another handicap probably +rectified by now, namely: the players, used to small +halls, pitched their voices so low they were nearly lost +in the vastness of the Palace auditorium.</p> + +<p>“The Undercurrent” is a tense story of sordid tenement +life—a sort of an echo of “John Ferguson,” but +not so much so as to rob Mrs. Ehlert of the glory of +an original plot. This plot has to do with a stern, Bible-reading, +<span class="pagenum" id="Page_76">[76]</span>iron-willed janitor who has brought up his children +in the way they should go, and whose daughter, +escaping the stern discipline of the home, becomes a +street walker. The episode pictured is the attempt of the +daughter, her mother, and a social worker to keep the +God-fearing janitor from finding out what his daughter +has done. The plot is skillfully constructed, tense and explosive, +and the acting is astonishingly good.</p> + +<p>There is no severer test for a dramatic sketch than +the song and dance atmosphere of a vaudeville show, +and “The Undercurrent” demonstrated yesterday that +it is at least three times as good as it must have seemed +in the “little theatre” tournament at the Goodman +Theatre.</p> + +<p class="right">—<i>C. J. Bulliet</i> in <i>Chicago Evening Post</i>, June 25, 1928.</p> + +<figure class="figcenter illowp100" style="max-width: 6.25em;"> + <img class="w100" src="images/deco.jpg" alt="" data-role="presentation"> +</figure> + +<p>Mrs. Ehlert’s play shows searchingly how a bigoted +foreign father brings ruin upon the happiness of his +family by warping justice into injustice through his fanatical +method of administering it. It is a tense drama +packed with interest from start to finish.</p> + +<p>The cast, the same that won the contest, is playing it +at the Palace and giving an exceptionally fine performance, +particularly C. Russell Small as the father, and +Harriet Allyn as the mother. Excellent also are Gladys +Pfeffer, Charles White, Ethel R. Swift and Helen +Sanford. Over half a dozen curtain calls attested to that +fact that an unusual offering such as this is a good +piece of commercial “theatre” also.</p> + +<p class="right">—<i>Fritz Blocki</i> in <i>Chicago Evening American</i>, Tuesday, June 26, 1928.</p> + +<p><span class="pagenum" id="Page_77">[77]</span></p> + +<figure class="figcenter illowp100" style="max-width: 6.25em;"> + <img class="w100" src="images/deco.jpg" alt="" data-role="presentation"> +</figure> + +<p>“It’s an excellent one-acter, sharp, sure, unexpectedly +effective.”</p> + +<p class="right">—<i>Robert Garland</i> in <i>The New York Telegram</i>, January 22, 1929.</p> + +<figure class="figcenter illowp100" style="max-width: 6.25em;"> + <img class="w100" src="images/deco.jpg" alt="" data-role="presentation"> +</figure> + +<p>“This drama, which is sponsored by the Radio-Keith-Albee +corporation, is an exceptionally fine contribution +to the Vaudeville stage and far above the average sketch. +A capable cast interpreted the roles.”</p> + +<p class="right">—<i>Julius Cohen</i> in <i>Journal of Commerce</i>, January, 22 1929.</p> + +<figure class="figcenter illowp100" style="max-width: 6.25em;"> + <img class="w100" src="images/deco.jpg" alt="" data-role="presentation"> +</figure> + +<h3>“THE UNDERCURRENT” ACTED AT THE PALACE</h3> + +<p class="center">Chicago Little Theatre Prize Winning Play is +Realistic</p> + +<p>“It is written sincerely and observantly, and tells its +not overburdening story with effective simplicity.”</p> + +<p class="right">—<i>John Byram</i> in <i>The New York Times</i>, January 21, 1929.</p> + +<figure class="figcenter illowp100" style="max-width: 6.25em;"> + <img class="w100" src="images/deco.jpg" alt="" data-role="presentation"> +</figure> + +<p>“The author has captured the brutal atmosphere of +a family in which the father, a janitor, believes that his +children can be made to love him by continued mental +and physical floggings, and has arranged the whole in +a few deft situations.”</p> + +<p class="right">—<i>New York Herald-Tribune</i>, January 22, 1929.</p> + +<p><span class="pagenum" id="Page_78">[78]</span></p> + +<figure class="figcenter illowp100" style="max-width: 6.25em;"> + <img class="w100" src="images/deco.jpg" alt="" data-role="presentation"> +</figure> + +<h3>RADIO-KEITH-ORPHEUM PALACE TRACK</h3> + +<p>Winners at a glance.</p> + +<p>1—“The Undercurrent”</p> + +<p>2—Barry & Whitlege</p> + +<p>3—Webb & Hay</p> + +<p>“It has been a long time since a sketch has been as well +received at this track as was “The Undercurrent” last +Monday night. The fans received it like money from +home. Which proves that when a sketch is what it should +be, it will be as well received as any other act.... This +sketch would be good for a route, for it will play equally +well anywhere.”</p> + +<p class="right">—<i>Paul Sweinhart</i> in <i>Zit’s</i>, January 26, 1929.</p> + +<figure class="figcenter illowp100" style="max-width: 6.25em;"> + <img class="w100" src="images/deco.jpg" alt="" data-role="presentation"> +</figure> + +<h3>MANHATTAN MADNESS</h3> + +<p>“To get good sketches for vaudeville is difficult, for +to tell a story in 15 minutes, a complete story with a +dramatic climax and coherent plot, gripping from beginning +to end, requires exceedingly great skill. But +this is what Mrs. Fay Ehlert has accomplished in “The +Undercurrent,” at the Palace Theatre, after seven months’ +touring over R-K-O time.... Editorial comment has +been showered on this terse little drama and it never fails +to grip each audience and cause tremendous applause.”</p> + +<p class="right">—<i>Robert Coleman</i> in <i>Daily Mirror</i>, New York, N. Y., Monday, January 21, 1929.</p> + +<p><span class="pagenum" id="Page_79">[79]</span></p> + +<figure class="figcenter illowp100" style="max-width: 6.25em;"> + <img class="w100" src="images/deco.jpg" alt="" data-role="presentation"> +</figure> + +<h3>NOBLE</h3> + +<p>Our Noble Prize award for today: To Mrs. Fay Ehlert, +authoress of “The Undercurrent,” the Chicago Little +Theater prize-winning skit, now a feature of the Palace +bill closing today, for its inherent entertaining merits.</p> + +<p class="right">—<i>Ohio State Journal</i>, Columbus, November 28, 1928.</p> + +<figure class="figcenter illowp100" style="max-width: 6.25em;"> + <img class="w100" src="images/deco.jpg" alt="" data-role="presentation"> +</figure> + +<h3>PALACE</h3> + +<p>“The Undercurrent,” by Fay Ehlert, winner of the +Edith Rockefeller McCormick cup in the recent Little +Theatre contest, was presented in the four-spot. The play +deals with a wayward daughter, Bible-reading father +from the old country, social worker from the morals +court, gossip and a brow-beaten mother and son. Whole +family very much in awe of the stern father of the “old +school,” with the little skit packing a tremendous wallop +and holding the breaths of the house straight through +from start to finish.”</p> + +<p class="right">—<i>Variety</i>, June 27, 1928.</p> + +<figure class="figcenter illowp100" style="max-width: 6.25em;"> + <img class="w100" src="images/deco.jpg" alt="" data-role="presentation"> +</figure> + +<p>“The Undercurrent,” prize-winning play of the Chicago +Little Theatre tournament, was in third position, +and upon conclusion took nine curtains, none of which +were begged. Harriett Allyn as a janitor’s wife, Curt +Benisch as her husband, and Florence Thompson as a +<span class="pagenum" id="Page_80">[80]</span>neighbor, brought to this arty dramatic sketch a talent +which made it outstanding and an act to be remembered.”</p> + +<p class="right">—<i>Inside Facts of Stage and Screen</i>, Los Angeles, Saturday, Oct. 13, 1928.</p> + +<figure class="figcenter illowp100" style="max-width: 6.25em;"> + <img class="w100" src="images/deco.jpg" alt="" data-role="presentation"> +</figure> + +<h3>AT THE PALACE</h3> + +<p>“Occupying an important spot at the Palace this week +is a sketch straightly dramatic and singularly different +from the general run of sketches.... A hideous cruel +picture that Mrs. Ehlert has drawn with no small amount +of skill.... An extraordinarily sincere and effective one-act +play.”</p> + +<p class="right">—<i>Jeffery Holmesdale</i> in <i>The World</i>, New York, January 22, 1929.</p> + +<figure class="figcenter illowp100" style="max-width: 6.25em;"> + <img class="w100" src="images/deco.jpg" alt="" data-role="presentation"> +</figure> + +<h3>AT THE PALACE</h3> + +<p>“This observer, who has sat and squirmed through +many a dull playlet on the Orpheum boards, found himself +(with the rest of the audience) vigorously applauding +a one-acter that has not a laugh in it.... It is heavily +tragic, but so truly written and ably performed that +it gripped the attention of an audience that had expected +the worst. The cast took six curtain calls, an amazing +thing for unknown players in an unknown playlet. The +play comes to New York after a similar success over the +whole R-K-O route, and if Vaudeville’s new moguls +have any lingering doubts that Palace audiences will +<span class="pagenum" id="Page_81">[81]</span>appreciate worthy sketches, the reception to Mrs. Ehlert’s +work should clear their minds.”</p> + +<p class="right">—<i>Carl Helm</i> in <i>The New York Sun</i>, January 22, 1929.</p> + +<figure class="figcenter illowp100" style="max-width: 6.25em;"> + <img class="w100" src="images/deco.jpg" alt="" data-role="presentation"> +</figure> + +<h3>PLAYLET AIDS PALACE BILL</h3> + +<p class="center">Clever Sketch Tops Offering</p> + +<p>“If you can be thrilled by as perfectly written and presented +a one-act playlet as has ever been offered to a +Vaudeville audience, the Palace Theatre, where Fay +Ehlert’s “The Undercurrent” is one of the chief offerings +on an excellent program, is the spot for that type +of reaction this week.... For its first New York showing +the Palace Theatre was selected. The Palace has many +times shown a restlessness during dramatic acts of this +type. Sunday afternoon that same audience seemed to +sit spellbound. Mrs. Ehlert has not only shown herself +a word-character painter of ability, but she has also proved +her adeptness in staging a playlet which she has done +herself.”</p> + +<p class="right">—<i>H. David Strauss</i> in <i>The Morning Telegraph</i>, January 21, 1929.</p> + +<p><span class="pagenum" id="Page_82">[82]</span></p> + +<hr class="chap x-ebookmaker-drop" aria-hidden="true"> + +<div class="chapter"> + +<p><span class="pagenum" id="Page_83">[83]</span></p> + +<h2 class="nobreak" id="LETTERS">LETTERS</h2> + +<p><span class="pagenum" id="Page_84">[84]</span></p> + +</div> + +<hr class="chap x-ebookmaker-drop" aria-hidden="true"> + +<div class="chapter"> + +<p><span class="pagenum" id="Page_85">[85]</span></p> + +<h2 class="nobreak" id="LETTERS_1">LETTERS</h2> + +</div> + +<h3>GENERAL FEDERATION OF WOMEN’S CLUBS<br> +1928-1930</h3> + +<p class="center">DEPARTMENT OF PUBLIC WELFARE<br> +MRS. SAIDIE ORR-DUNBAR, CHAIRMAN<br> +<span class="smaller">310 FITZPATRICK BLOCK, PORTLAND, OREG.</span></p> + +<p class="center">Division of Correction<br> +MISS JULIA K. JAFFRAY, CHAIRMAN<br> +<span class="smaller">730 FIFTH AVE., NEW YORK, N. Y.</span></p> + +<p class="center">PRESIDENT<br> +MRS. JOHN F. SIPPEL<br> +<span class="smaller">307 ST. DUNSTAN’S ROAD, HOMELAND</span><br> +<span class="smcap">Baltimore, Md.</span></p> + +<p class="center">GENERAL HEADQUARTERS<br> +<span class="smaller">1734 N STREET, N. W.</span><br> +<span class="smcap">Washington, D. C.</span></p> + +<p class="center">MRS. VALENTINE B. FISHER<br> +<span class="smaller">707 TWELFTH STREET, BOULDER, COLO.</span></p> + +<p class="center">MRS. B. F. WESTMORE<br> +<span class="smaller">716 OLD NATIONAL BANK BLDG., SPOKANE, WASH.</span></p> + +<p class="right">May 13, 1929.</p> + +<p class="noindent"><span class="smcap">My dear Mrs. Ehlert</span>:</p> + +<p>May I congratulate you most heartily upon “The Undercurrent” +which I saw last Saturday night. It shows +a very keen insight into “things as they are”—everyone +<span class="pagenum" id="Page_86">[86]</span>meaning well, everyone blundering and all grieving that +a young girl is going wrong.</p> + +<p>Not since Jean Webster in “Daddy Long Legs” interpreted +the treatment generally accorded to orphans +have I seen as faithful and striking a picture of the +well-meaning forces which wreck young lives.</p> + +<p>I understand that the play is now available for +amateurs and will do all in my power to induce women’s +clubs to present it. The results will be telling!</p> + +<p>Can’t you take little Annie to a Woman’s Reformatory +and in picturing her life there show those of us dealing +with reformatory problems where we are falling short?</p> + +<p>Every good wish for continued success.</p> + +<p class="center">Cordially yours,</p> + +<p class="right"><span class="smcap">Julia K. Jaffray</span><br> +<span style="margin-right: 3em;">Chairman</span></p> + +<figure class="figcenter illowp100" style="max-width: 6.25em;"> + <img class="w100" src="images/deco.jpg" alt="" data-role="presentation"> +</figure> + +<h3>NEW YORK STATE FEDERATION OF WOMEN’S CLUBS</h3> + +<p class="center"><span class="smcap">Mrs. Charles, J. Reeder</span>, President<br> +956 State Street, Carthage, N. Y.</p> + +<p class="center">MEMBERSHIP 400,000<br> +ORGANIZED 1894</p> + +<p class="center">Department of Fine Arts<br> +Division of Drama<br> +<span class="smcap">Mrs. Edmund Gale Jewett</span><br> +266 Washington Ave. Brooklyn, N. Y.</p> + +<p class="noindent"><span class="smcap">My dear Mrs. Ehlert</span>,</p> + +<p>I must congratulate you on your remarkable little +play, “The Undercurrent.”</p> + +<p>I saw it one afternoon recently and was so impressed +by its unusualness that I wanted my husband to see it +<span class="pagenum" id="Page_87">[87]</span>with me, so I saw it again last night with him. He felt +about it just as I did.</p> + +<p>What a story it tells in that short time! The characters +are so sharply drawn. It is splendidly played. The +effect on the audience was positively electric last night.</p> + +<p>Audiences and their reactions are always of great +interest to me. It seems a real feat for you to have +gotten this play into Vaudeville—and yet how wise of +Vaudeville.</p> + +<p>I believe amateurs could give “The Undercurrent” +with satisfaction.</p> + +<p>It is a great little playlet, my dear Mrs. Ehlert. May +it continue long on its brilliantly successful way.</p> + +<p class="center">Most sincerely,</p> + +<p class="right">(Mrs. Edmund Gale) <span class="smcap">Eugenie Jewett</span><br> +<span style="margin-right: 4.0em;">Chairman Division Drama,</span><br> +<span style="margin-right: 6.0em;">Department Fine Arts,</span><br> +<span style="margin-right: 11.0em;">N.Y.S.F.W.C.</span></p> + +<p>May the eleventh, 1929.</p> + +<figure class="figcenter illowp100" style="max-width: 6.25em;"> + <img class="w100" src="images/deco.jpg" alt="" data-role="presentation"> +</figure> + +<p class="mt2 right">March 12, 1929.</p> + +<p class="noindent">Mrs. Fay Ehlert,<br> +Authoress, “The Undercurrent,”<br> +The Roosevelt,<br> +New York City.</p> + +<p class="noindent"><span class="smcap">Dear Mrs. Ehlert</span>:</p> + +<p>An urge impells me to say something regarding your +play, “The Undercurrent.” It is no inclination for flattery. +It is not an ambition to produce a sales-talk. This +<span class="pagenum" id="Page_88">[88]</span>would be quite unnecessary since the public is “sold” on +your play. Nor are my remarks designed as an advertising +testimonial, stereotyped for renumeration. Most certainly, +you have received a multitude of voluntary +comments which are highly complimentary. Since I represent +another field I will leave the critics concern themselves +with the dramaturgical art of the play. Had I the +time I would enjoy making a sociological study and +analysis. By way of substitution I am enclosing “Some +Sociological Reflections” which are for your encouragement. +You may use them as you see fit.</p> + +<p class="center">Yours in appreciation,</p> + +<p class="right"><span style="margin-right: 6.0em;"><span class="smcap">Harry F. Weber</span>,</span><br> + Professor, Sociology of Histrionics.</p> + +<figure class="figcenter illowp100" style="max-width: 6.25em;"> + <img class="w100" src="images/deco.jpg" alt="" data-role="presentation"> +</figure> + +<h3>SOME SOCIOLOGICAL REFLECTIONS UPON +FAY EHLERT’S “THE UNDERCURRENT”</h3> + +<p class="center">By Dr. H. F. Weber, Prof. Sociology of Histrionics, +Albright College, Myerstown, Pa.</p> + +<p>Having an obsession for the sociological side of the +drama-stage, I recently went to the theatre to estimate +this alert (Ehlert) play called by the treacherous title, +“The Undercurrent.” This current dragged me into a +janitor’s basement room where I eddied helplessly in a +whirl of life. Like the scoffer I staid to pray. Once I +resisted the tow in an effort to ascertain the effect upon +the audience but their dazzling, steady gaze stageward +overcame me. This tabloid drama had blossomed into the +universality of life. Back in the basement I remained +until a kind curtain disenchanted me. My notebook was +<span class="pagenum" id="Page_89">[89]</span>blank. It is easy to realize why I speak of reflections rather +than judgments, since my thoughts came after rather +than with the presentation. Yet I did not forfeit my +sensibilities even though my mind was in the play rather +than upon it. “In the basement” I experienced several +splendid and pleasant surprises:</p> + +<blockquote> + +<p class="hanging">1. The difference between my reading of the script +and seeing the play.</p> + +<p class="hanging">2. That a play could be so “really real” and yet contain +so much idealism.</p> + +<p class="hanging">3. That such a situation did not turn out to be a burlesque +upon squalid life.</p> + +<p class="hanging">4. That the pornographic suggestion did not become +obscene.</p> + +<p class="hanging">5. That so much of life could be concentrated into so +small a space and time.</p> + +<p class="hanging">6. That a play not written with a problematic motive +could touch upon so many social problems.</p> + +<p class="hanging">7. That the broken English dialogue could be made +understandable throughout.</p> + +<p class="hanging">8. That so serious a play would be taken so seriously +by the Vaudeville audience and so appropriate a part +of the program.</p> + +</blockquote> + +<p>The title was correct. Society does have its undercurrent +which drags down helpless victims against their +own efforts. The “plotless plot” reveals still other paradoxes:</p> + +<blockquote> + +<p class="hanging">1. Severe Sincerity.</p> + +<p class="hanging">2. Homely Beauty.</p> + +<p class="hanging">3. White Lie Truthfulness.</p> + +<p><span class="pagenum" id="Page_90">[90]</span></p> + +<p class="hanging">4. Cesspool Home.</p> + +<p class="hanging">5. Bitter Righteousness.</p> + +<p class="hanging">6. Forced Love.</p> + +<p class="hanging">7. Harsh Charity.</p> + +<p class="hanging">8. Homeward Waywardness.</p> + +<p class="hanging">9. Hereditary Environment.</p> + +<p class="hanging">10. Superior Inferiority.</p> + +<p class="hanging">11. American Immigrant.</p> + +</blockquote> + +<p>The lesson-seekers as reformers, ministers, judges, educators, +social workers, parents, sexologists, humanitarianists, +eugenicists, euthenicists, and mere conversationalists +can find innumerable “morals” hovering about each one +of the characters of the play:</p> + +<blockquote> + +<p class="hanging">1. The thick-headed, self-centered, sincere, father;</p> + +<p class="noindent2">Domination of father, Harsh idealism from ancestors, +Puritanism, Relation of parent to offspring, +The immigrant in America, Old World views in the +New World.</p> + +<p class="hanging">2. The long-suffering, helpless, warped, beaten, loving +mother;</p> + +<p class="noindent2">Mother love, Dominated Womanhood, Equality of +the sexes.</p> + +<p class="hanging">3. The dull, bullied, shut-in, son;</p> + +<p class="noindent2">Stifled personality, crushed individuality, Child +guidance, Repression, The right to be well born, +Child labor.</p> + +<p class="hanging">4. The good, wayward daughter;</p> + +<p class="noindent2">The Revolt of Youth, Social vice, Fallen women, +Double standard of morals, Conditions of working +<span class="pagenum" id="Page_91">[91]</span>girls, Drawing power of mother love, Influence of +associates.</p> + +<p class="hanging">5. The nosey, spiteful, slatternly neighbor;</p> + +<p class="noindent2">Intruding, meddling neighbors, jealousy, gossip, +Keeping up (down) with the Joneses, “Flat ethics +and etiquette.”</p> + +<p class="hanging">6. The court investigating, social worker;</p> + +<p class="noindent2">Usefulness and necessity of the social worker, Solving +cases of maladjustment, The milk of human +kindness, Probation for innocent offenders, Not letter +but spirit of the law, Not rules but common +sense, Uncharitable charity.</p> + +<p class="hanging">7. The family in general;</p> + +<p class="noindent2">How the other half lives, Appreciation for blessings, +Over-strict home life, Depressing slum environment, +Ignorance, Poverty, Unemployment, Living +wage, Standard of living, Equal opportunity, Ossification +of society, The melting pot,—</p> + +</blockquote> + +<p>But I must cease this vivisection or the play will be +played out. It must not be torn into such small bits. Let +it suffice to say that there is something in it for everyone +and he who listens can hear between the lines. The +play’s value cannot be measured by the response from +the chairs. “The Undercurrent” grips. The audience +when scattered will remember it long after the best vaudeville +joke is forgotten. The longer the memory the “gripper” +the Undercurrent. The blighted home depicted will +help to soften the atmosphere of the audient’s own home, +which heretofore however slight may have been tainted +unwittingly by an undercurrent.</p> + +<p><span class="pagenum" id="Page_92">[92]</span></p> + +<p>Perhaps then, the little masterpiece, in vaudeville called +a sketch, does have a purpose. A discovery of it will have +more sociological significance than for play-building +technique. In the restricted sense of the latter there is no +author’s “moral.” It does not present propaganda. Yet +the vaudeville audience is bound to carry away a meaning.</p> + +<p>Harlow in his “Growth of United States” writes, “Perfectly +simple ideas, boldly stated and constantly reiterated, +if given wide circulation, no matter whether they +are truth or falsehood, have a powerful fascination for +the majority of mankind.” Just as the vaudeville stage +is the feeder for all branches of amusement the vaudeville +audience represents the most varied cross-section of society, +and permeates itself through it. The vaudevillean +by his “catch-phrases and wise-cracks” determines many +social attitudes for his clients across the foot-lights. They, +in turn picking up these “cleverisms,” pass them on to +their fellowmen as illuminating truths (modern proverbs).</p> + +<p>It certainly must mean the elevation of social standards +when “The Undercurrent” gets a hearing. It has +a personality—when this human drama is on it corrals +the emotions by its characterization, frankness, and reality. +Like the best personalities it is contagious, makes +others wish to hover near it, imitate it, admire it. In spite +of proffering no solution to the many problems which it +suggests, the audience goes away with the resolution that +things must go better in the future. Out of the despair +of this effective simple story arises hope. Although little +ratiocination there will be contemplation. Perhaps few +<span class="pagenum" id="Page_93">[93]</span>will be transformed into saints but many will become +more human.</p> + +<p>All personality being elusive, it is difficult to determine +from where the personality of this deft sketch comes,—the +cast? the setting? the lines? the action? perhaps the +author! One can be a little more certain where it goes. +This will locate a purpose, hopefully the purpose. “The +Undercurrent” audience senses the motive, “Life; not as +a strange interlude of many excruciating acts, not as a +morbid mundanity of an isolated act, but as mortal activity +flavored with sympathy.” The spirit of pity is propagated. +Not that it is unfortunate to be compelled to +live but that no one should be compelled to live unfortunately. +Briefer stated this suggests “the more abundant +life for all.”</p> + +<p>The playlet with its clamorous reception as the sketch +supreme appears to be prophetic of:</p> + +<blockquote> + +<p class="hanging">1. Better interhuman relationships.</p> + +<p class="hanging">2. Social values in a mechanistic standardized age.</p> + +<p class="hanging">3. Changes in the Drama-Stage; New things in vaudeville, +Western inroads upon “Broadway,” Conquest +by the amateur.</p> + +</blockquote> + +<h4>SOME UNSURPASSED STUDENT IMPRESSIONS</h4> + +<p>In order to broaden the range of reaction, “The Undercurrent” +was brought before the unsuspecting class +in the Sociology of Histrionics. This course has as its +objective the sociological study of the drama-stage. None +of the class had heard of the play or its author. No effort +<span class="pagenum" id="Page_94">[94]</span>was made to arouse enthusiasm or to laud its merits, in +fact quite the reverse. Eliminating the preliminary description +and the directions for characterization, the script +was read once in a monotone. Without further information +or class discussion each student was asked to write +upon scratch paper his or her opinion, especially including +adverse criticism. They were given to understand that +their papers would not be read in class or have any bearing +upon their grades. No indication disclosed what use +might be made of these impressions. The results under +these handicaps are quite startling. The following extracts +were made without the students’ knowledge or +permission.</p> + +<p>The extremist of the class objected to the play as having +no plot, a boresome foreign accent, a repulsive situation, +a danger of tempting people to imitate that kind +of life, better for children than adults, and that anyone +who could appreciate such a play would have no capacity +for good tragedy.</p> + +<p>However the consensus of opinion of the class was quite +different. One of the ladies felt, “The lesson taught by +the play seemed to be the outstanding thing, the fact +that the man was so wrong and yet could quote scripture +to prove his point.... We can all easily become +friends of the girl Annie, and pity her plight, especially +when we know it is so true to life as we have heard +of it. I do not like to bring the hardness and cruelty of +life in its treatment of some people to everyone and as +I have no better method to suggest—of bringing it before +someone who might be able to help remedy the condition, +I would not try to stop these plays. The characters +<span class="pagenum" id="Page_95">[95]</span>are very vividly portrayed, particularly the father’s. When +his lines were being read I suffered the reaction of wanting +to stop them, to change it; I didn’t want to hear it +any further without doing something to that man. For +this type of play I think it very good.”</p> + +<p>Quotations from other students follow:</p> + +<p>“The play was suggestive of many things and many +purposes.”</p> + +<p>“The play emphasized the fact that real strict parents +create in their children hate and fear instead of love for +them.”</p> + +<p>“It gives us an idea of the life one leads in a flat. The +father was so cruel in his way of bringing up his children—they +did not have a chance to speak for themselves. +The social workers of the day can help children +in such predicaments. It would also help children that +have life easy and to appreciate the advantages they have.”</p> + +<p>“It was written for amusement and also to show the +good many are doing on the streets of large cities for the +fallen people. The author had in mind to make the parents, +who saw or read the play, pay more attention and +spend more educating time with them.”</p> + +<p>“Evidently the play is meant to bring out the fact that +home environment and discipline has a great influence +upon youth, and a home in which the young are so repressed, +directed and curbed, the influence is liable to be +a negative one.... The most difficult cases the social +worker has to deal with are these.... The selfishness, +strictness, blindness, and one-track-minds of parents are +responsible for much of youthful delinquency and disgrace.”</p> + +<p><span class="pagenum" id="Page_96">[96]</span></p> + +<p>“A problem play to teach the effect of home life and +conditions on the child’s life and behavior. Introduces +somewhat secondarily the work and place of the Morals +Courts, which investigate the environment for the possible +causes of crimes. Portrays living conditions of the +ignorant and poverty-stricken class.... The play teaches +its lesson.... An indirect method frequently is more +successful than one whose purpose is known by all concerned.”</p> + +<p>“Training a child in the way he should go may be +a good proverb, but it is not a wise plan to scare children +into lying and leaving home, associating with wrong +companions and thus getting into trouble.... It’s a +good play and many instances just like it occur nowadays.... +The mother certainly realized what should be +done.”</p> + +<p>And lastly will be given the unedited report of one +who seemed indifferent during the single reading of +the play:</p> + +<p>“The play was interesting. It portrayed or was typical +of the life it portrayed; that is, the slums. I had a vivid +picture of the house and clear impression of the father +in his burly way. The characters were well written. It +was a good “unwritten” character sketch. You could +easily judge or tell what type of characters they were. The +plot was very simple but I think incompleted. The play +was well named. We should have more of those type of +plays because so many people do not realize how some +people do exist. Of course there are some who would +refuse to believe it but then it wouldn’t do any harm for +them to be informed. The type of play to have are those +<span class="pagenum" id="Page_97">[97]</span>true to life. Too many plays do not acquaint us with +actual life and we are disillusioned. The ‘ma’ and ‘pa’ +type are so frequent in the foreign element of our country +that it is astounding. I like the dialect because if we +are at all broad we will run across people who speak as +they spoke and we should be able to understand. Some +people are bored by those plays. I think they lack appreciation.”</p> + +</main> +<div style='text-align:center'>*** END OF THE PROJECT GUTENBERG EBOOK 78852 ***</div> +</body> +</html> diff --git a/78852-h/images/cover.jpg b/78852-h/images/cover.jpg Binary files differnew file mode 100644 index 0000000..809685c --- /dev/null +++ b/78852-h/images/cover.jpg diff --git a/78852-h/images/deco.jpg b/78852-h/images/deco.jpg Binary files differnew file mode 100644 index 0000000..bafe76b --- /dev/null +++ b/78852-h/images/deco.jpg diff --git a/78852-h/images/illus1.jpg b/78852-h/images/illus1.jpg Binary files differnew file mode 100644 index 0000000..8a76465 --- /dev/null +++ b/78852-h/images/illus1.jpg diff --git a/78852-h/images/illus2.jpg b/78852-h/images/illus2.jpg Binary files differnew file mode 100644 index 0000000..97c8258 --- /dev/null +++ b/78852-h/images/illus2.jpg diff --git a/78852-h/images/illus3.jpg b/78852-h/images/illus3.jpg Binary files differnew file mode 100644 index 0000000..5af74da --- /dev/null +++ b/78852-h/images/illus3.jpg diff --git a/78852-h/images/illus4.jpg b/78852-h/images/illus4.jpg Binary files differnew file mode 100644 index 0000000..33ae266 --- /dev/null +++ b/78852-h/images/illus4.jpg diff --git a/78852-h/images/illus5.jpg b/78852-h/images/illus5.jpg Binary files differnew file mode 100644 index 0000000..fa6e778 --- /dev/null +++ b/78852-h/images/illus5.jpg diff --git a/78852-h/images/tp-deco.jpg b/78852-h/images/tp-deco.jpg Binary files differnew file mode 100644 index 0000000..6067642 --- /dev/null +++ b/78852-h/images/tp-deco.jpg diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6c72794 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This book, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. 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