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i Our Appeal for Navvy Pat.-[

I } PONTYPRIDD 

Theatre Royal.

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Theatre Royal. Becanse. to be quite candid I did not enjoy "Joy, bister of Mercy," at the Theatre Royal, so well, as J did the two plays that were p-iesenteci last week some of my friends seem to imagine ttiat I am deficient in those qualities that a x ia-vS°ei' must possess if his writings are to be worth while. I am quite content to stand by my opinionB; but in explanation of my last week's preference, I should like to say that I have seen "Joy" three times alto- gether now, and that within the space of some IS mouths at the outside, and the situations did mot have the novelty that they would have had for a theaweite making his first visit. On the other hand the knowledge of what was coming, allowed me to exercise a more critical faculty on the structure, of the piece; to ob- serve. if you will, the craftsmanship of Miss Eva Elwes as writer; and I want to express my aclmlraltion for the Qasy fluency of her pen; the sweet rhythm of her style the charity of her contrasts and the absence of strain in the natural unfoldment of a truly dramatic con- ception, Like Somewhere a Heart is Break- ing last week, there is a topical war touch about some of the scenes; yet, also, like Pte. Gore's ivoi-li:, it is a topical interest which is not topical if 1 may so describe it. It is a hu- man interest which will keep the play ever- green in the, alas, far distant future when the production of "Joy" will have as much tepical interest in those scenes, as we have at the mo- mnt in the military significance df "A Roy- al Divorce." After all, the only standard we can apply to any piece of work, whether it be flippant revue or "Hamlet," is, "Does it de-  t" live?" and by this standard I believe Joy will win the commendation of a majo- rity of the dramatic critics. As to the playing, one a well-caste, well-instructed piece when the authoress is herself playing the title lole and in Joy" one is not disappointed in tne expectation. There is not a weak charac- 1 in the j and the work of Miss Elwes herself, and of Mr Harry Cullinford as "The Rev. Matthew Freeman," is far above the level or provincial melodrama. There is a natural gra(>e,a coimncing sincerity about their work uch hits one up, and transports one to an all1osphere of ??y' remote from the arti- eJahty of the stage ? in these days; and what IS true of these two true also of the greater ? ex?-? ? P?pcrtion as opportunities for pxprebsion are forthcoming.  saw that next week we were to have LeW> Lake's The Story of the Angelus," I lacked i-ny brain to try and discover whether I had ever heard of a farce of that name; for one could not suppose that Lew Lake had ap- peared m anything without having heard a lot about it; and I was unaware then that he was running dramatic companies. I now discover that the latter 18 the case, and from enquiries I have made Lew seems to be on a ,good thing in touring Miss Dorothy Mullford in her "The Story of the Angelus, for I see from the re- cords that it has been playing to big houses of delighted patrons in most of the big towns. Although like the main plays of the past fort- night, this concerns itself with the problems arising out of the present war-it is totally different in construction from its predecessors. It is a story of Catholic Belgium, and of a Belgian girl's love story—a strange, deep love only possible to a few natures. The authoress is anxious that the plot should not be re- vealed, but if the caste is adequate to present the story, and I believe, on good evidence, that it is, the story of Angela's love and her sin should be extraordinarily telling on the stage. PLAYGOER. I

The Editor's Appeal.I

: -An Open Letter to Omnipotent…

_._,.._-G.B.S. at Court-Martial.

" Dismal Dowlais." I

MERTHYR )

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