Maurice Browne: in "The Unknown Warrior"

              Figure

JAMES B. POND PRESENTS
MAURICE BROWN
PRODUCER OF JOURNEY'S END
IN


THE UNKNOWN WARRIOR
BY PAUL RAYNAL

WITH
ROSALINDE FULLER

DIRECTED BY ELLEN VAN VOLKENBURG





The finest play about the r yet written.—
London Daily Telegraph


It is perhaps the only play from the many written supposedly with a reverent feeling for those who gave their lives in the Great War and for those they left to grieve that deserves to have a lasting place in dramatic literature.—
London Stage.


If 'Journey's End' represents the war as the ordinary man saw it, then 'The Unknown Warrior' may be taken to represent the viewpoint of the visionary, whose ideals were shattered by the stark brutality and ruthlessness of the upheaval….  Deeply impressive performance.—
London Evening News.


A play of unquestionable sincerity and of high accomplishment.—
The London Times.


Out of many war plays and war books I can say of one only, 'The Unknown Warrior,' that its tragedy is grand enough for the subject….  In five hundred years a few war books may be referred to by the scholarly curious for the manners and customs of the European war.  'The Unknown Warrior,' in the absence of a greater unwritten, will tell the discerning how the highest consciousness of Europe, although sucked into the war, knew it, and fought to renew itself.—
The New Age, London.


It is not a play for discussion in the ordinary sense, but a thing for silent argument of the soul.—
London Jewish Chronicle.


Irresistible.—
Sheffield Telegraph, London.


A work of singularly fine quality.—
London Sunday Times.


Deeply moving and impressive.—
London Evening Standard.


Possesses merits transcending those of the spectacular war plays.—
Truth, London.


An unusual work compelling the attention of every thinking man and woman in the community….  Is an undeniable masterpiece.—
Country Life, London.


I am sorry for anyone who can sit through this play unshaken.  There are some passages worthy of the noblest literary parentage, and the whole is on a plane of beauty and pathos as far removed from the common ignoble fare of the theatre as anything well could be.—
Church Times, London.


A remarkable piece of work.—
London Morning Post.


Mr. Maurice Browne's soldier establishes the growing conviction that the part requires more than the ordinary skill of an actor.  He succeeds in communicating every nuance of pathos and passion in the part because he is deeply in love with the work as a whole, and sensitive to the implications of its latent philosophy.—
The New Age, London.


A play of singular beauty, and of an intimacy of thought so poignant that it almost hurts.—
London News Chronicle.


Figure





MAURICE BROWNE is, I believe, the most significant figure to reach the world's theatrical consciousness since we became aware of the achievements of Stanislavsky and Nemirovitch-Dantchenko at the Moscow Art Theatre.


—Significant, because his ultimate triumph in the commercial theatre forever justifies the existence of the Little and experimental theatres whose product he is.
—Significant, because he has carried into the professional stage, the ideals and standards for which he fought in the Little Theatres.
—Significant, because he is the most powerful single influence in London and in the world today for the Theatre International.

British-born and American-trained, blessed with a flaming passion for the art of drama and schooled by bitter experience, Maurice Browne found the key to power and world-influence in Journey's End.  His motive in undertaking the present tour is to repay the debt he feels he owes to his Alma Mater, the American Little Theatre.

OLIVER M. SAYLER
Author of The Russian Theatre, Our American Theatre and Revolt in the Arts



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