Ms. Hellman has certainly written better plays than [the recently revived] Days to Come, yet I found it interesting for a variety of reasons, even for its faults. For a start, it is about something real, something that matters. At the time of its original showing, it must have been regarded chiefly as a play about capital and labor, a "strike play." It offers the usual setup of a wealthy, more or less genteel Ohio family, owners of a brush factory; its loyal workers; an upright union leader; the benevolent but weak boss; his unfeeling partner, and the gangsters hired to bring in strike-breakers. There is an adventitious crime, a calculated outbreak of violence, the death of a child due to police brutality. These are the melodramatic trappings typical of too many plays of the 1930s. They are not false: all this is representative enough of what was...