Press Comments On The Play

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Other comments follow, showing the great interest manifested in the play and the belief in the highest seriousness of its purpose:

There is no uncleanness in facts. The uncleanness is in the glamour, in the secret imagination. It is in hints, half-truths, and suggestions the threat to life lies.

This play puts the horrible truth in so living a way, with such clean, artistic force, that the mind is impressed as it could possibly be impressed in no other manner.

Best of all, it is the physician who dominates the action. There is no sentimentalizing. There is no weak and morbid handling of the theme. The doctor appears in his ideal function, as the modern high-priest of truth. Around him writhe the victims of ignorance and the criminals of conventional cruelty. Kind, stern, high-minded, clear-headed, yet human-hearted, he towers over all, as the master.

This is as it should be. The man to say the word to save the world of ignorant wretches, cursed by the clouds and darkness a mistaken modesty has thrown around a life-and-death instinct, is the physician.

The only question is this: Is this play decent? My answer is that it is the decentest play that has been in New York for a year. It is so decent that it is religious.

--HEARST'S MAGAZINE.

The play is, above all, a powerful plea for the tearing away of the veil of mystery that has so universally shrouded this subject of the penalty of sexual immorality. It is a plea for light on this hidden danger, that fathers and mothers, young men and young women, may know the terrible price that must be paid, not only by the generation that violates the law, but by the generations to come. It is a serious question just how the education of men and women, especially young men and young women, in the vital matters of sex relationship should be carried on. One thing is sure, however. The worst possible way is the one which has so often been followed in the past--not to carry it on at all but to ignore it.

--THE OUTLOOK.

It (DAMAGED GOODS) is, of course, a masterpiece of "thesis drama,"--an argument, dogmatic, insistent, inescapable, cumulative, between science and common sense, on one side, and love, of various types, on the other. It is what Mr. Bernard Shaw has called a "drama of discussion"; it has the splendid movement of the best Shaw plays, unrelieved--and undiluted--by Shavian paradox, wit, and irony. We imagine that many audiences at the Fulton Theater were astonished at the play's showing of sheer strength as acted drama. Possibly it might not interest the general public; probably it would be inadvisable to present it to them. But no thinking person, with the most casual interest in current social evils, could listen to the version of Richard Bennett, Wilton Lackaye, and their associates, without being gripped by the power of Brieux's message.

--THE DIAL.

It is a wonder that the world has been so long in getting hold of this play, which is one of France's most valuable contributions to the drama. Its history is interesting. Brieux wrote it over ten years ago. Antoine produced it at his theater and Paris immediately censored it, but soon thought better of it and removed the ban. During the summer of 1910 it was played in Brussels before crowded houses, for then the city was thronged with visitors to the exposition. Finally New York got it last spring and eugenic enthusiasts and doctors everywhere have welcomed it.