These are the plays which, in the light of metropolitan criticism, seem most important:
SERIOUS
THE GREEN HAT—The silky philosophy of Michael Arlen made eminently credible by Katharine Cornell.
HEDDA GABLER—Special matinees of Emily Stevens and her able troupe of Ibsenites.
THE WISDOM TOOTH—The wistful fantasy of an unsuccessful man who succeeded in returning to his youth.
CRAIG'S WIFE—The sombre history of a hard-hearted housewife who found no place in her home for a husband.
THE JEST—The hot breath and cold laughter of Italian nights and days in a glowing revival, with Basil Sydney.
LULU BELLE—Lenore Ulric and a well trained troupe, mostly Negro, in an explicit tale of Harlem night life.
YOUNG WOODLEY—How sex came to an English schoolboy. Principally Glenn Hunter.
LESS SERIOUS
CYRANO DE BERGERAC—Rostand's classic tale of the man whose nose was too large for any woman to love.
THE BUTTER AND EGG MAN— Last few weeks of the shrewd history of how a small fortune was lost and found behind the scenes of a Broadway play.
CRADLE SNATCHERS—Three slightly antiquated ladies take three callow college youths off for a weekend on Long Island.
THE LAST OF MRS. CHEYNEY—A suave and subtle comedy of manners, good and bad, in English drawing rooms. Including Ina Claire.
MUSICAL
Ladies, lovers, jazz, and what have you? are agreeably combined in these: Sunny; The Cocoanuts; No, No, Nanette; The Vagabond King; Artists and Models; Tip-Toes; The Student Prince.