New Play in Manhattan

Thunder on the Left (adapted by Jean Ferguson Black; Henry Forbes, producer). Christopher Morley's story, which 100,000 people have bought since it was published in 1925, is a strange and lovely book. One of the strangest qualities has now been revealed for the first time: it is adaptable to the stage.

Playwright Black begins her tender drama with the children's party, during which Martin evidences his desire to ''spy'' on grownups. In the next scene, pitched 20 years into the future, Martin gets his wish. During a weekend party given by his now adult companions, the cook reports that a funny kind of a man has appeared at her kitchen asking for cake. The man, Martin (James Bell), is brought in. He captivates the company with his ingenuousness, his embarrassing candor about the most personal matters, his in cessant hunger. More than anyone else, Phyllis Granville (Katharine Warren) is captivated. She finds Martin curiously like her husband, from whom she has been growing apart, when he was younger. The association grows stronger. When Martin, appearing with milk on his mouth, solemnly reminds her that it is a sign someone will kiss him before morning, Phyllis volunteers. "Sometime later," begs Martin, "when you tuck me in bed.'' Those who know their Morley will recall that this tryst is forestalled by the fatal accident to Phyllis' children and by the importunities of Joyce, who has not grown up either and who persuades Martin to go away before something dreadful happens. James Bell, who sent shivers down audiences' spines when he performed his ghastly march to the electric chair in The Last Mile (TIME, Feb. 24, 1930), turns in a tip-top job of acting Martin. He is immensely appealing in a role which dozens of less comprehending players would have mawkishly botched. Miss Warren also gives a highly professional impersonation.

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