Best Plays

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

SERIOUS

THE DYBBUK--Jewish mysticism in stirring recreation.

BRIDE OF THE LAMB--Alice Brady's amazing performance of a wife who fell in love with a preacher's body instead of his soul.

CRAIG'S WIFE--The relentless portrait of a woman who honored her childless home above her husband.

THE GREAT GOD BROWN--Eugene O'Neill's expressionistic study of a man who stole another's brains.

YOUNG WOODLEY--English schoolboy life, the dawn of adolescence.

LULU BELLE--A Negro courtesan's progress from Harlem to Paris. Mostly Lenore Ulric.

LESS SERIOUS

WHAT EVERY WOMAN KNOWS--Brilliant Barrie revival, with Helen Hayes in the old Maude Adams part.

POMEROY'S PAST--Laura Hope Crews and Ernest Truex in an agreeable Clare Kummer comedy.

THE LAST OF MRS. CHEYNEY--English epigrams and stolen pearls among the peerage. Ina Claire.

CRADLE SNATCHERS--Boisterous, rowdy farce about old women and young men.

AT MRS. BEAM'S--Reviewed in this issue.

MUSICAL

The eye, the ear, the rib are most agreeably stimulated by: The Vagabond King, By the Way, Pinafore, Sunny, The Cocoanuts, Iolanthe, Raquel Meller, The Student Prince, Tip-Toes and No, No, Nanette.