Word: villain
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Dates: during 1920-1929
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...Paul, though heir to the Claverian throne, began life as the son of a simple U. S. garage-owner-how he met Margaret Harting, the daughter of a pacifist lecturer, and loved her. Then duty called. Someone had been assassinated. He returned to Clavery and met (a) the villain, Michael, would-be usurper of the throne, whom he shoots for the mad dog of a militarist he is; (b) Princess Helen of Saevia whom he loves, and marries, without any regrets for the U. S. girl. As a novel, The King Who Was a King is thus unconventional in form...
...another book by. . . ." Frank Swinnerton, long-accepted writer of suave character studies, also wrote a First Novel, and it won him "immediate recognition as a young writer of distinction." Published now in this country, The Merry Heart is subtitled "A Gentle Melodrama," involving as it does the death of villain and the charming capers of a gay, cynical young hero. The complicated plot is only less fortuitous than that of Swinnerton's latest novel, A Brood of Ducklings −Hero Locritus tracks down the villain who has absconded with his sister Fanny, only to discover that the same...
...freight-house prison with an axe and reaches him just before a cardboard locomotive trundles by. It is acted with true old-fashioned fervor by a cast which enters into the spirit of the occasion with a rush. Earl Mitchell is particularly convincing as the deep-dyed villain and whole-souled performances are contributed by John Ferguson, Helene Dumas, Ella Houghton. It is good fun if you feel like hissing, cheering and stamping your feet unrestrainedly. Next door there is a brass-railed Bowery...
...Octoroon. Hissing the villain and shouting directions to the hero came back into vogue with the revival of After Dark a few months ago, at Christopher Morley's Theatre in Hoboken (see above). This is another by the author of After Dark. Dragged from its pre-war (Civil) dust and presented on Broadway, its thunderous plot is played "straight" by a capable cast. For those who can get enjoyment out of making fun of abandoned sentimentalities, it provides a pleasant evening...
...course the man from Scotland Yard. For three acts lights go on and off, spotlights play, and one person after another falls into someone's arms or else is suddenly dragged offstage by a mysterious form. In the end somebody has to be found to be the villain or the play would have absolutely no raison d'etre, and the resourceful authors manage to pin someone down just in time to send the audience home contented...