The Theatre: The Best Plays: Nov. 19, 1923

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

Drama

ELEONORA DUSE—The greatest name in the world of the theatre retaining its compelling power by reason of a woman’s ageless spirit.

Moscow ART THEATRE—Russian Repertory which was barnumed into sensational success last season returns to mop up.

RAIN—Jeanne Eagels in her fifth century of performances as a 20th Century harlot in the South Seas.

SIR JOHN MARTIN-HARVEY—Showing that repertory may be both classical and profitable. Hamlet and The Shrew next.

SEVENTH HEAVEN—Gutters and garrets of War-time France. Helen Menken mounts from one to the other with good effect.

SUN UP—A tragic page torn from the primitive history of Carolina Mountain folk.

TARNISH—Telling in bitter terms how man blurs his life by compromise with moral standards.

Comedy

AREN’T WE ALL ?—Convincing and immensely diverting discussion of the inseparability of a sense of humor and successful matrimony. Cyril Maude chiefly concerned.

THE CHANGELINGS—A moderately amusing comedy of twisted identity made into the semblance of important entertainment by Henry Miller, Blanche Bates, Ruth Chatterton.

CYRANO DE BERGERAC—Walter Hampden’s revival of Rostand’s classic comedy. Just about the most satisfactory combination on the current playbill.

IN LOVE WITH LOVE—Smart in-consequentials made singularly entertaining by Lynn Fontanne and a deftly devised production.

MARY, MARY, QUITE CONTRARY— Mrs. Fiske winding up her brilliant engagement in St. John Ervine’s comedy of English life.

THE NERVOUS WRECK—Thunderous farce demonstrating that a week in the wide open spaces is more valuable than carloads of pink pills.

THE SWAN — Exceptional high comedy of Royalty by Franz Molnar brought beautifully to life by striking performance against a background perfect in color and detail.

WINDOWS — The Theatre Guild prospering with a play by John Galsworthy on the psychology of a wayward girl.