THREE CHEERS FOR NOAH

HERE'S a play at last for anyone who thinks anything of the theatre. Here is The Theatre in bloom: abloom in imagination, in fantasy, in wisdom, in human and humane humour, in strange and tightening pathos, in the lesson of courage, in decorative suggestion, and in fine acting—a play for all London at last. Here is a play for old men and young men, for young women and old women, for clergymen, for politicians, for those who believe in God and for those who never think of Him; a play for dramatists (especially dramatists), and for all, except, perhaps, the critics who, looking at and liking so long the trivialities that deck themselves with the names of plays, have become even as those dried-up old ladies, so attractive to some of them, that have appeared in plays a day or two ago. There are a few weak moments in the passing-by of the play (there are weak moments in most plays, and weak hours in a lot), but in its entirety, from the jaunty song of Noah as he puts the finishing touch on the Ark, to the singing of the same song at the end, when he starts life all over again, the play is fine work in dialogue, in scenic suggestion, and in acting, especially the acting of Mr. Gielgud. Apart from the childlike simplicity of the play, there are many curious bits

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