Theatre: Theatre: May 24, 1926

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

SERIOUS

BRIDE OF THE LAMB — Alice Brady giving a burning interpretation of a relation between sex and religion in a shoddy but irresistibly exciting play.

YOUNG WOODLEY — English schoolboy life and the dawn of sex in a young man. Mainly Glenn Hunter.

CRAIG’S WIFE — The portrait of a lady who dusted her house so clean that her husband left it flat.

LULU BELLE — Lenore Ulric in a gutturally exciting portrait of a Negro courtesan who conquered Harlem and then Paris.

THE DYBRUK — Strange mysticism of Jewish religious legend made enormously important by perfection of production.

LESS SERIOUS

WHAT EVERY WOMAN KNOWS —J. M. Barrie’s fortunate revival, with Helen Hayes as the sage female.

THE IMPORTANCE OF BEING EARNEST — What many consider Oscar Wilde’s best comedy glibly brought to life by a good cast from the Actors’ Theatre.

THE ROMANTIC YOUNG LADY — A Spanish comedy of dreams and sharp reality with Mary Ellis dreaming the principal dreams.

THE LAST OF MRS. CHEYNEY — Ina Claire and a patent leather troupe of Londoners stealing pearls from each other.

AT MRS. BEAM’S — Have you ever lived in a stuffy boarding house at which there arrived a man who had murdered 37 wives?

CRADLE SNATCHERS — Boisterous and raw material about middle-aged married women and roving undergraduates.

MUSICAL

The weary seeker after simple pleasures and the lovers of good music divide their time among the following: The Vagabond King, Iolanthe, Sunny, The Cocoanuts, Tip-Toes, By the Way, Pinafore, The Student Prince and No, No, Nanette.