SOURCE: “As London Sees O'Casey,” in The New York Times, November 3, 1929, p. 4, section 9.

In the following review of The Silver Tassie, Morgan assesses the strengths and weaknesses of the dramatic techniques found in the London production, claiming that O'Casey's political prejudices hurt the aesthetic dimension of the play.

There is a defiant boldness in Mr. O'Casey's writing that compels attention. Juno and the Paycock and The Plough and the Stars made a deep impression even upon those who found them wanting as works of art. It was evident that here was one who possessed many of the qualities of a great dramatist—a view of life proper to himself; courage enough to depart from fashionable dramatic technique when his work required such a departure; a fiercely critical humor and an extraordinary power to perceive, and to reproduce in the theatre, the entanglement—even the coincidence—of tragedy, comedy...