Before, he had good memories of Martin, a wife who seemed too good for him, two partners he liked and respected and a girl he could idealize. Now, he finds Martin was an obscene lunatic who his wife adored, one of his partners was a cheating thief, the other a hysterical young pervert, and the girl was a slut. His disillusionment drives him to shoot himself. At this point, the opening scene is repeated, but this time they bypass the dangerous corner at which the truth is demanded, thus averting disaster.
One of the outstanding successes of the New York season, this play was brilliantely produced by Harry Moses at the Empire Theatre, after an enormously successful run in England. It is a fascinating combination of mystery play and psychological study. It shows how the gradual revelation of the truth about a murdered man disrupts his family and friends and shows them up for the rotters they are. George Jean Nathan writes of it that it “provided the only intelligent new play that the Broadway stage has uncovered thus far in a season.”