The Best Plays

These are the plays which, in the light of metropolitan criticism, seem most important:

Drama

WHAT PRICE GLORY?--Continues to be the successful portrayal of the mud and swear words and sincerity which were life on the Western Front. THEY KNEW WHAT THEY WANTED --A picture of California with some of the sunshine omitted. The old man, the young wife, the inevitable lover. DESIRE UNDER THE ELMS--Eugene O'Neill's treatment of the same old man, young wife and lover situation. More deeply tragic, more directly frank. WHITE CARGO -- The horror of the white for the brown melts away under the lonely suns of Africa. SILENCE--The good old crook-and-virtue melodrama played to excellent emotional returns by H. B. Warner. OLD ENGLISH--An unsatisfactory "old British gentleman" play by Galsworthy made into keen entertainment by George Arliss' performance. THE WILD DUCK--Reviewed in this issue

Comedy

CANDIDA--One of Shaw's earliest and best, featuring Katherine Cornell, becomes a leading popular as well as artistic success. SHE HAD TO KNOW--Grace George discovers in a delightfully amusing manner whether or not a woman can be too virtuous or too attractive. Is ZAT So?--A prizefight parable takes place in a Fifth Avenue home. Terribly tough and terribly funny. THE GUARDSMAN--Suave and sentient comedy of home life among the actors played perfectly by Alfred Lunt and Lynn Fontanne. THE FIREBRAND--Benvenuto Cellini indulges in some medieval bedroom ri- baldries. THE SHOW-OFF--Large talk and loud laughter over the young man who talks much, says little.

Musical

For a light and laughable diversion, any of the following is prescribed: Music Box, Zicgfcld Follies; Lady, Be Good; Rose-Marie, The Grab Bag, Chauve Sonris, Big Boy.