Contexts of American Plays Before 1925

Act One, Scene One A section of country highway. The road runs diagonally from the left, forward, to the right, rear, and can be seen in the distance winding toward the horizon like a pale ribbon between the low, rolling hills with their freshly plowed fields clearly divided from each other, checkerboard fashion, by the lines of stone walls and rough snake fences. … At the rise of the curtain, ROBERT MAYO is discovered sitting on the fence. He is a tall, slender young man of twenty-three. There is a touch of the poet about him expressed in his high forehead and wide, dark eyes. His features are delicate and refined, leaning to weakness in the mouth and chin. He is dressed in gray corduroy trousers pushed into high-laced boots, and a blue flannel shirt with a bright colored tie. He is reading a book by the fading sunset light. He shuts this, keeping a finger in to mark the place, and turns his head toward the horizon, gazing out over the fields and hills. His lips move as if he were reciting something to himself. His brother ANDREW comes along the road from the right, returning from his work in the fields. He is twenty-seven years old, an opposite type to ROBERT: husky, sun-bronzed, hand some in a large-featured, manly fashion a son of the soil, intelligent in a shrewd way, but with nothing of the intellectual about him. He wears overalls, leather boots, a gray flannel shirt open at the neck, and a soft, mud-stained hat pushed back on his head. He stops to talk to ROBERT, leaning on the hoe he carries. During what decade did this play premiere and win a Pulitzer Prize for Drama?

Act One, Scene One A section of country highway. The road runs diagonally from the left, forward, to the right, rear, and can be seen in the distance winding toward the horizon like a pale ribbon between the low, rolling hills with their freshly plowed fields clearly divided from each other, checkerboard fashion, by the lines of stone walls and rough snake fences. … At the rise of the curtain, ROBERT MAYO is discovered sitting on the fence. He is a tall, slender young man of twenty-three. There is a touch of the poet about him expressed in his high forehead and wide, dark eyes. His features are delicate and refined, leaning to weakness in the mouth and chin. He is dressed in gray corduroy trousers pushed into high-laced boots, and a blue flannel shirt with a bright colored tie. He is reading a book by the fading sunset light. He shuts this, keeping a finger in to mark the place, and turns his head toward the horizon, gazing out over the fields and hills. His lips move as if he were reciting something to himself. His brother ANDREW comes along the road from the right, returning from his work in the fields. He is twenty-seven years old, an opposite type to ROBERT: husky, sun-bronzed, hand some in a large-featured, manly fashion a son of the soil, intelligent in a shrewd way, but with nothing of the intellectual about him. He wears overalls, leather boots, a gray flannel shirt open at the neck, and a soft, mud-stained hat pushed back on his head. He stops to talk to ROBERT, leaning on the hoe he carries. This playwright also wrote all but which of the following works?

Act One, Scene One A section of country highway. The road runs diagonally from the left, forward, to the right, rear, and can be seen in the distance winding toward the horizon like a pale ribbon between the low, rolling hills with their freshly plowed fields clearly divided from each other, checkerboard fashion, by the lines of stone walls and rough snake fences. . . . At the rise of the curtain, ROBERT MAYO is discovered sitting on the fence. He is a tall, slender young man of twenty-three. There is a touch of the poet about him expressed in his high forehead and wide, dark eyes. His features are delicate and refined, leaning to weakness in the mouth and chin. He is dressed in gray corduroy trousers pushed into high-laced boots, and a blue flannel shirt with a bright colored tie. He is reading a book by the fading sunset light. He shuts this, keeping a finger in to mark the place, and turns his head toward the horizon, gazing out over the fields and hills. His lips move as if he were reciting something to himself. His brother ANDREW comes along the road from the right, returning from his work in the fields. He is twenty-seven years old, an opposite type to ROBERT: husky, sun-bronzed, hand some in a large-featured, manly fashion a son of the soil, intelligent in a shrewd way, but with nothing of the intellectual about him. He wears overalls, leather boots, a gray flannel shirt open at the neck, and a soft, mud-stained hat pushed back on his head. He stops to talk to ROBERT, leaning on the hoe he carries. Who is the author of this play?

During what decade was A Punch for Judy first performed?

What other famous American play did the author of A Punch for Judy write?

The play title A Punch for Judy alludes to what earlier genre of plays?

Act One, Scene One A section of country highway. The road runs diagonally from the left, forward, to the right, rear, and can be seen in the distance winding toward the horizon like a pale ribbon between the low, rolling hills with their freshly plowed fields clearly divided from each other, checkerboard fashion, by the lines of stone walls and rough snake fences. … At the rise of the curtain, ROBERT MAYO is discovered sitting on the fence. He is a tall, slender young man of twenty-three. There is a touch of the poet about him expressed in his high forehead and wide, dark eyes. His features are delicate and refined, leaning to weakness in the mouth and chin. He is dressed in gray corduroy trousers pushed into high-laced boots, and a blue flannel shirt with a bright colored tie. He is reading a book by the fading sunset light. He shuts this, keeping a finger in to mark the place, and turns his head toward the horizon, gazing out over the fields and hills. His lips move as if he were reciting something to himself. His brother ANDREW comes along the road from the right, returning from his work in the fields. He is twenty-seven years old, an opposite type to ROBERT: husky, sun-bronzed, hand some in a large-featured, manly fashion a son of the soil, intelligent in a shrewd way, but with nothing of the intellectual about him. He wears overalls, leather boots, a gray flannel shirt open at the neck, and a soft, mud-stained hat pushed back on his head. He stops to talk to ROBERT, leaning on the hoe he carries. Which of the following is not a character in this play?

Who is the author of A Punch for Judy?