“In Jean Anouilh there is a constant alternation between moods of brave affirmation and bitter protest; affirmation of life's primal glory, protest at what modern urban--particularly French--man has made of it . . . Traditional too in Anouilh is his dramatic form--of which he is one of the few remaining masters in the theatre of our time . . . It is essentially the theatre of the mask, the theatre which is an amalgam of ballet, farce, street fair, and improvisation--all made to serve the purpose of revealing human truth in the gravest sense. Anouilh calls some of his plays 'black' others 'pink,' but they all sparkle with the glitter of the theatre's cloak of a thousand colors.” —Harold Clurman