Best Plays

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

Drama

S. S. GLENCAIRN--Four of Eugene O'Neill's earlier sea tales in a sharply etched production by the Provincetown Players.

SILENCE--Starts in a death house, jumps back to the murder, evades the electric chair. H. B. Warner and a tense, if trivial, melodrama.

CONSCIENCE--A Western feature of a girl who went wrong while her husband was in jail; chiefly conspicuous for the performance of Lillian Foster.

WHAT PRICE GLORY?--The brilliance and bitterness of war as told by the marines on the French Front.

THEY KNEW WHAT THEY WANTED--Reviewed in this issue.

DESIRE UNDER THE ELMS--Eugene O'Neill again, this time in a New England farmhouse where the old farmer marries a youthful bride and discovers she loves his son.

WHITE CARGO--The things you learn from the natives if marooned on a lonely post in Africa.

Comedy

THE GUARDSMAN--Alfred Lunt and Lynn Fontanne carry on their own domestic comedy.

THE FARMER'S WIFE--In which a rural widower attempts to find a new wife, exhausts the outside possibilities and selects his housekeeper.

MINICK--Theatrical version of Edna Ferber's short story of the impossibilities of a middle-class father-in-law.

GROUNDS FOR DIVORCE--Ina Claire's delightful prescription for losing and winning a husband via the divorce court.

EXPRESSING WILLIE--Closing weeks of the satiric idyll on the contrasting temperaments of the artist youth and the hard-bitten veteran of business.

THE SHOW-OFF--The bombs of bragadoccio bursting in the hot air of irresistible overconfidence.

Musical

Kettledrums, kicks and wisecracks are the most agreeably combined in the following diversions: Kid Boots, The Grab Bag, The Rite Revue, Rose-Marie, Ziegfeld Follies, Dixie to Broadway, Scandals, I'll Say She Is, Annie Dear.