ABSTRACT
Mr. Eliot must be admired for his persistence in making experiments for a modern verse drama. The box-office success of ‘Murder in the Cathedral’ may have given him an unexpected and fortunate filip. It is possible, indeed, that he, more than other poets on the scene at the moment, may establish an altered theatre. His work is ritualistic, a thing which will be increasingly appropriate, without doubt, in the coming years. Yet, strangely enough, in his new play, ‘The Family Reunion’ (produced at the Westminster Theatre this week), he clings in the text to naturalism of surface and the naturalistic time. For all the versification, he may be said to have hardly broken with the main tenets of Shaftesbury Avenue.
