It is nearly always said that Lillian Hellman's plays are triumphs of craftsmanship. Actually the question of motivation, the construction of a plot, are quite awkwardly managed in most of them…. The plays are full of thefts and letters discovered. The basic plot device is so often unfortunate that the efforts to work it out, skillful enough in a technical sense, become more and more visible and disturbing. This craftsmanship of climaxes and curtain lines and discoveries is a sort of know-how, useful enough in the commercial theater, but paralyzing to the natural development of characters in action. We are too often asked more on behalf of the plot than we can sensibly give assent to.

Behind Lillian Hellman's plays there is a torn spirit: the bright stuffs of expensive productions and the hair-shirt of didacticism. Between these two, her genuine talent for characterization is diminished…. [That Hellman's characters] should be squeezed to death by the iron of an American version of Socialist Realism and the gold of a reigning commercialism is a problem of cultural history. (p. 5)