New Plays

Sinner. Since marriage is a state of conflict, the theatres make much of it. Thompson Buchanan presents his version of the cosmic combat in a comedy, the title of which is derived by nicking the heroine's name, Cynthia. It appears that the young lady likes her man without matrimony. An unfortunately discovered roadhouse dalliance leads to her being forced to accept him with the conventional wedding ring. In Act II, emerges the conflict between business and wife-petting. Husband (Allan Dine-hart) woos his Mexican oil wells. Wife (Claiborne Foster) languishes in the company of an artist friend powerful with women. Says Husband in plaintive self-defense: "A man who can make love in a falling market may be a hero but he is a damn poor businessman." Into the distress of the last act advances Mother-in-law.

Unlike most stage Mammas, she is the dea ex machina who brings about a happy ending. She counsels son-in-law: "I would rather see my daughter nurse a black eye in her husband's home than a lover on the ocean. "Thereupon the hero slaps his wife's face and she , promptly flutters repentant into his forgiving arms. The audience is left to imagine the happiness that might have ensued had he taken a cane to her. The play may be applesauce to Philosopher Keyserling, but it is caviar to a dull season, for it is smartly acted and well-lined.

The Adventurous Age. When George Tyler announced the return of Mrs. Patrick Campbell after a twelve-year absence from the U. S., greybeards revived the legends of her fiery temperament and explosive tantrums. They recalled how, in 1902, she ordered tanbark dumped on the trolley tracks outside the Republic Theatre to quiet the din of cars banging over the switch, how vigilant politicians made it a national issue, how Mrs. Pat made it a quarter of a million dollars' worth of publicity. They were shocked when "the glorious madwoman" stepped before the footlights last week. She had become majestic in proportion, infelicitous in performance. She embarrassed. Her play was a feebly repetitious comedy in which an elderly man monopolizes his son's woman while his elderly wife reciprocates with her daughter's man. But, even making allowances for the play, it is clear that Mrs. Pat belongs to the dear dead days.

Strawberry Blonde is another play flung by Martin Brown to the Great White Way (others current: The Love Thief [nee Praying Curve], The Dark). Herein an epidemic of red-headed babies visits Astoria, Long Island, and where should suspicion light but upon the ruddy thatch of Herbie Salute, the only adult member of the community with hair to match? Herbie is reduced to lonely bachelordom for one act, but absolution and a lucky horse bring health, wealth and wisdom in time for the last curtain.

Off-Key is Arthur Caesar's play about a literary man (played by McKay Morris) who orates upon the freedom of the married woman only to wax illogically furious upon discovering that his wife (played by Florence Eldridge) had once been free. From then on, it is every man's wife for him. Naturally there was much to be said and suffered before a harassed audience could steal away on the first night without embarrassing the well-liked playwright.

Fog. John Willard, who did The Cat and the Canary, has done this one badly in a trick yacht interior which rolls and pitches with uncanny naturalness. "How did this yacht party get cut adrift; and are these young lovers brother and sister; and who planted the bomb?" seems to be the plot. Sedative.

Judy. Beside a song hit presumptive: "When Gentlemen Grew Whiskers and Ladies Grew Old," this musical comedy has Queenie Smith, as ever a charming twinkle-toes. After an uncertain first night it picked up considerably, and is the first clean show with a Greenwich Village setting in many a year. Thin.