In today’s Wall Street Journal, I review the U.S. premiere of Miles Malleson’s Conflict, first staged in London in 1925 and never performed since then. Here’s an excerpt.

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Forty-nine years after his death, Miles Malleson has become the answer to a trivia question. He was one of those funny-faced comic character actors (one of his three wives claimed that he looked “exactly like a hobgoblin”) whom everyone remembers but few know by name, the English counterpart of Eugene Pallette or S.Z. Sakall. The list of distinguished films in which he played small but striking parts includes “The Importance of Being Earnest,” “Kind Hearts and Coronets” (he was the hangman), “The Man in the White Suit,” “Peeping Tom,” and Alfred Hitchcock’s “Stage Fright” and “The 39 Steps,” and he also had a similarly noteworthy stage career, most famously as Polonius to John Gielgud’s Hamlet in 1944. In addition, though, Malleson wrote a fair number of plays, some of which were briefly successful but all of which are now forgotten. That’s where the Mint Theater Company comes in.

The Mint, a much-admired off-Broadway troupe which specializes in digging up what it calls “worthwhile plays from the past that have been lost or forgotten,” is presenting the U.S. premiere—in fact, the first revival anywhere—of Malleson’s “Conflict,” a 1925 drama about two college friends (Jeremy Beck and Henry Clarke) who run against one another for a seat in the House of Commons and turn out to be in love with the same woman (Jessie Shelton). It is an immaculately well-made, comprehensively satisfying piece of theater, old-fashioned in style without feeling at all dated, and the Mint’s production, directed by Jenn Thompson and featuring an ensemble cast of supreme merit, is beyond praise….

In private life, Malleson was a deadly earnest socialist, a Labour Party activist and (latterly) Communist fellow traveler whose plays were vehicles for his left-wing views. But if that sounds discouraging, fear not: In “Conflict,” Malleson embedded his world-saving politics in a soundly plotted drama whose light tone is more reminiscent of a drawing-room comedy than a Shavian play of ideas and which ends with a bases-loaded coup de théâtre. It’s as though one of John Galsworthy’s plays had been rewritten by Terence Rattigan….

Regular readers of this column need no reminding that Ms. Thompson is an artist of unusual versatility. I’ve seen her stage everything from “Oklahoma!” to Neil Simon’s “Lost in Yonkers,” always with total understanding of the material and a willingness to let it speak for itself instead of imposing her own style. What stands out in her production of “Conflict” is its understated delicacy…

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Read the whole thing here.

Richard Wilbur and Robert Lowell read and talk about their work on an undated episode of USA: Poetry, originally telecast by NET, the predecessor of PBS, in 1966:

(This is the latest in a series of arts- and history-related videos that appear in this space each Monday, Wednesday, and Friday)

“He liked a play to have a beginning and a middle and an end; he liked to spot the crises, to recognize a craftsman at his business of constructing craftily; he like a firm ending, to leave the theatre with that tiny scar on consciousness which meant he had been moved.”

William Haggard, Closed Circuit

In today’s Wall Street Journal “Sightings” column I report on an on-stage culture clash that I witnessed last week in St. Louis. Here’s an excerpt.

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Culture War II, in which “woke” progressives are now pitting themselves against old-fashioned liberals, came to St. Louis on Friday. The battleground was the Muny, a century-old outdoor theater that produces Broadway musicals every summer, and the casus belli was—unlikely as it may sound—an anti-slavery ballet.

The Muny opened its centennial season last week with a major event, the first revival anywhere of “Jerome Robbins’ Broadway,” the 1989 revue in which the master of musical-comedy choreography put together an evening’s worth of his celebrated production numbers. None was more memorable than “The Small House of Uncle Thomas,” the ballet from “The King and I” in which the enslaved wives of the tyrannical King of Siam turn “Uncle Tom’s Cabin” into an impeccably liberal-minded song-and-dance number that pointedly hints at the resemblance between their degraded condition and that of the black slaves who worked on plantations in the American South….

Laura Jacobs, who reviewed “Jerome Robbins’ Broadway” for the Journal, singled out “The Small House of Uncle Thomas” as “the most beautiful of the numbers” in the show. But that’s not how a group of out-of-town American theater artists felt when they saw it on Friday. Jeremy D. Goodwin, who interviewed them afterwards, reported on St. Louis Public Radio’s website that the 15 artists, who were in town for a conference, were offended by what they took to be examples of cultural insensitivity in the production, the most noteworthy of which was the casting of a white actor, Sarah Bowden, as Tuptim, the slave-wife who narrates “The Small House of Uncle Thomas.” “Looking at that work was painful for us,” said Leilani Chan, artistic director of Los Angeles’ TeAda Productions. “We were just shocked.”

How did they respond? One might reasonably have expected them to request a meeting with Mike Isaacson, the Muny’s artistic director and executive producer, to discuss their grievances. But acccording to Mr. Goodwin, the group had already been tipped about the “yellowface” casting (to use the now-common term for casting whites in Asian roles) of Tuptim. Hence they were inclined instead to immediate action, and when “The Small House of Uncle Thomas” got underway, they rose to their feet and started shouting “No yellowface!” and booing in unison before being escorted out of the theater by Muny staffers….

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Read the whole thing here.

The trailer for the Muny’s revival of Jerome Robbins’ Broadway:

Here’s my list of recommended Broadway, off-Broadway, and out-of-town shows, updated weekly. In all cases, I gave these shows favorable reviews (if sometimes qualifiedly so) in The Wall Street Journal when they opened. For more information, click on the title.

BROADWAY:
• The Band’s Visit (musical, PG-13, all shows sold out last week, reviewed here)
• Dear Evan Hansen (musical, PG-13, all shows sold out last week, reviewed here)
• Hamilton (musical, PG-13, Broadway transfer of off-Broadway production, all shows sold out last week, reviewed here)
• My Fair Lady (musical, G, all shows sold out last week, reviewed here)

OFF BROADWAY:
• Symphonie Fantastique (abstract underwater puppet show, G, extended through Sept. 2, reviewed here)

CLOSING SOON ON BROADWAY:
• Angels in America (two-part drama, R, alternating in repertory, closes July 15, reviewed here)

CLOSING SOON IN PITTSFIELD, MASS.:
• The Royal Family of Broadway (musical, G, closes July 7, reviewed here)

CLOSING NEXT WEEK ON BROADWAY:
• The Iceman Cometh (drama, PG-13, some shows sold out last week, closes July 1, reviewed here)

CLOSING SUNDAY ON BROADWAY:
• Three Tall Women (drama, PG-13, all shows sold out last week, reviewed here)

CLOSING SUNDAY IN CHICAGO:
• Macbeth (Shakespeare, PG-13, remounting of Two River Theater Company production, original production reviewed here)

CLOSING TONIGHT IN EAST HADDAM, CONN.:
• The Will Rogers Follies (musical, G, reviewed here)

“My dear friend, clear your mind of cant. You may talk as other people do. You may say to a man, ‘Sir, I am your most humble servant.’ You are not his most humble servant. You may say, ‘These are sad times; it is a melancholy thing to be reserved to such times.’ You don’t mind the times. You tell a man, ‘I am sorry you had such bad weather the last day of your journey, and were so much wet.’ You don’t care six-pence whether he was wet or dry. You may talk in this manner; it is a mode of talking in Society: but don’t think foolishly.”

James Boswell, Life of Johnson

Stan Freberg, Daws Butler and June Foray perform “Little Blue Riding Hood,” Freberg’s parody of Jack Webb’s Dragnet, on an unidentified 1953 telecast:

(These are the latest in a series of arts- and history-related videos that appear in this space each Monday, Wednesday, and Friday)

“Shop fascinated her, for she knew that most men were interesting only when they were talking it. As long as one hadn’t heard it all that fatal time too often. And behind the technicalities were a man’s own view of them, his thoughts and his unconscious judgements. No man could wholly hide them and not all tried.”

William Haggard, The Unquiet Sleep

From 2003:

As anyone knows who’s been in journalism for more than the past 20 minutes or so, fact checking is an increasingly lost art. Time was when many magazines—if not most—rigorously checked every factual assertion made in every story they published. When I was writing profiles for Mirabella nine years ago, the checkers even required me to give them my interview tapes. But by the time I got to Time, the rigor had loosened considerably. My Time stories about the arts were “self-checked,” a wonderfully Orwellian euphemism meaning that they weren’t checked at all—it was assumed that I knew what I was talking about (though occasionally a copy editor would query me about odd-looking names).

By then, of course, the whole system was unraveling, at Time and everywhere else….

Read the whole thing here.

“Kamich only hoped Bojalian would do his killing in a decent manner. The trouble with all amateurs was that they mostly left a disgusting mess.”

William Haggard, The Old Masters