The charm of the second-rate shouldn't be snubbed. Plays that comfortably do their job of gently stirring the emotions while raising a couple worthy thoughts are rare enough in a theatrical marketplace jam-packed with third- and fourth-rate goods. British playwright Terence Rattigan was a master of the second-rate form—so much so that his work is inevitably either dismissed (usually by academics) or glorified (by matinee-loving Anglophiles). Broadway producers, who wouldn't recognize the first-rate if it came wrapped in a Ben Brantley ribbon, must dream of a latter-day Rattigan to restore the sophisticated suburban ideal of a theater that smartly entertains without ruffling anyone's... More >>>