Abstract
In 1963, E. Martin Browne published a lecture with the title Verse in the Modern English Theatre. The Times Literary Supplement responded with the question: What verse? 1 By that year the work of Eliot and Fry had nearly been completed, and the Angry Young Men had seized popular and critical attention. In the United States, the theater was as angry as in England but less articulate. The declining visibility of verse drama in this century raises the question whether the verse medium can again attract large numbers of playgoers. About thirty years ago John Gielgud played to enthusiastic audiences of The Lady's Not For Burning. A spectator reported that a woman seated directly behind him exclaimed with delight after every witticism from Christopher
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