quite ignored, but which have been played extensively by amateurs
and experimental theatres throughout America; and the latter
piece, especially, has probably been provocative of more
experimental stagecraft and a greater stimulation of poetic fancy
among amateur producers than any drama, short or long, written in
recent years.

When the Washington Square Players, for the most part amateurs of
the theatre, began their experiment in the spring of 1915, they
began with a bill of one-act plays. With but two exceptions, all
their succeeding productions have been composed of one-act plays,
usually in groups of four, the last one for the evening sometimes
being a pantomime. (It should be noted that a program of four
one-act plays has the unity of a collection. A short play
following a long one is overbalanced and the program seems to
most of us awry.) The reason for this choice was not entirely a
devotion to the art of the one-act play. When players are
inexperienced, it is far easier to present a group of plays of
one act than it is to sustain a single set of characters for an
entire evening. The action moves more rapidly, the tale is told
before the monotony of the actors becomes too apparent. Moreover,
the difference between the plays helps to furnish that variety
which the players themselves cannot supply by their
impersonations. Still again, it was no doubt easier for the
Washington Square Players to find novelties within their capacity
in the one-act form than in the longer medium. At any rate, they
did produce one-act plays, and are still producing them.

Four of these plays are presented in this book, four which won
approval first on the stage of the Bandbox Theatre and later,