Best Plays

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

SERIOUS

THE DYBBUK-Religious mysticism clarified by a startlingly sharp and stimulating production.

THE GREEN HAT-Iris March and the rest of Arlen's pink and perfumed assembly have only about two weeks more to go.

THE WISDOM TOOTH-A shrewd and sensitive fantasy about a clerk who suddenly saw himself as a little boy.

THE JEST-Sem Benelli's cruel Italian portrait brought back with Basil Sydney in the lead.

CRAIG'S WIFE-A sharply etched outcry against women who do not allow their husbands to smoke in the drawing room.

HEDDA GABLER-Emily Stevens and a sound company continuing the Ibsen play "for special matinees.

LULU BELLE-The tale of a torrid tan courtesan from Harlem, who graduated to a silk-hung Paris boudoir. Principally Lenore Ulric.

LESS SERIOUS

THE LAST OF MRS. CHEYNEY-A crisp and pliant comedy of polite larceny among the English nobility.

THE BUTTER AND EGG MAN-Gregory Kelly still amusing the knowing population with his story of money lost and found behind the scenes.

CYRANO DE BERGERAC-Walter Hampden again revives the Rostand classic about a lover with a big nose.

CRADLE SNATCHERS-A sharp and bawdy tale of three amorous ladies who refused to concede their years of discretion.

MUSICAL

Lingerie and laughter are competently supplied in The Vagabond King, The Student Prince, No, No, Nanette, Tip-Toes, The Cocoanuts, Sunny, Artists and Models.