Definitely Hungarian

The Dominant Note in the Coming Theatrical Rhapsody

Not so very long ago Hungary was, to the happy masses, simply a place where wars started. Even such tiny fragments of the masses as detached themselves temporarily for cultural adventuring in Europe seldom penetrated the interior as far as Budapest. With London they were theatrically acquainted, with Paris, with Berlin, and even to a slight extent with Vienna and Moscow. The barrier of distance plus the barrier of language, almost insuperable except to the penetrating student, blocked cultural roads to Budapest. Then some wandering prospector struck dramatic gold, Liliom was produced, and Hungary became the cynosure of caravans of U. S. theatre men hurrying across the wastes of Central Europe in covered wagon-lits.

Show-Cases of the Opening season will contain a formidable array of nuggets found in the Hungarian fields.

Molnar dominates the list. There is currently a good deal of controversy over his first name. He is expected in Manhattan this season and presumably the Local of the Back Slappers' Union is determined that he shall feel at home. Dissension has arisen in their ranks as to what to call him. Originally, he was discovered as Franz; later it became Ferenc, and there is a distinct movement afoot at present to simplify it to just plain Francis. But that is one of those problems that must simply be left to work themselves out in their own way. At any rate he will follow his great successes Liliom, Fashions for Men and The Swan with The Red Mill, in which Belasco will star Lenore Ulric. The Theatre Guild will blend the brilliant abilities of Alfred Lunt and Lynn Fontaine into a production of The Guardsman. Gilbert Miller has acquired The Roman Feast and there is talk of reviving The Phantom Rival. Explorers abroad report that Molnar's latest is The Glass Shoe, to be produced presently in Budapest.

Ernst Vajda will arive to see four of his plays presented, counting Fata Morgana which the Theatre Guild now has at the Garrick. Ina Claire and Bruce McRae are rehearsing Grounds for Divorce; Belasco has Harem, described as a recklessly risque farce: and Gilbert Miller a piece termed at present The High C.

Lajos Biro has contributed two diversions popular in Europe : The Highwayman and The Yellow Lily. Antonia, a recent play by Melehior Lengyel, is charted for production by the Frohmans. The Tragedy of Man, a noted Continental classic, is also confidently expected.

Among the younger Hungarian dramatists whose wares will Come to Broadway are Ladislaus Fazekas with Four Gentlemen in Dress Suits; Attila Orbok with The Comet; Ladislaus Fodor, whose Marguerite of Navarre will be called Successful Despite Himsclf; and Nicholas Vitez in whose Where Is the Drama? Leo Ditrichstein will star.

Inspection of this list enlightens us as to what extent Budapest has stolen the spotlight from London and Vienna.