The awakening of Helen Keller's mind is a furious battle [in "The Miracle Worker"]….

[And even] when the battling is not physical, it is a determined struggle for victory by two people of strong wills. When it is over and the mind of the child acquires its first word ("water"), the peace of surrender in terms of love and recognition is the climax of the play and an electric moment in the theatre.

If Mr. Gibson had not written an acid book about the ways in which Broadway degrades an author's script ("The Seesaw Log"), the slovenly craftsmanship of "The Miracle Worker" would not be worth remarking. In taste, as well as in craftsmanship, the new play is below the standards of "Two for the Seesaw."

["The Miracle Worker"] comes from a television script. Mr. Gibson has retained the discursive TV form, which is diffuse in the theatre...