The fact that one has to wait until the final minutes of "The Amen Corner" for Sister Margaret to come truly alive is a clue to the shortcomings of Mr. Baldwin's early work. The structure of the play is elementary. The characterization is halting, and points are made obviously and repetitively.

Even in the much later "Blues for Mister Charlie," Mr. Baldwin had not mastered the dramatic form. "The Amen Corner," though it is not guilty of excesses of rhetoric, is often like an outline rather than a fully realized stage work. But unlike more craftsmanlike and emptier pieces, "The Amen Corner" has something to say. It throws some light on the barrenness of the lives of impoverished Negroes who seek surcease from their woes in religion….

One feels in "The Amen Corner" that Mr. Baldwin is only beginning to measure himself against the theater's challenge. Often his approach is tentative and tenuous. But here and there he fleshes out his thesis—that for too many poverty-stricken Negroes religion is an evasion of living—with dramatic eloquence.