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The Theatre: The Best Plays: Apr. 13, 1925

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


WHAT PRICE GLORY?−The rumble of guns and the snatches of laughter that made war a stern but not so unhappy hell on the Western Front.

THEY KNEW WHAT THEY WANTED−Pauline Lord gives the best performance in town as the waitress who married by mail and betrayed her master on the wedding night.

THE WILD DUCK−Mr. Ibsen receives what he deserves−a good performance.

WHITE CARGO−White man and black woman drift irresistibly together under the poisonous influence of desert loneliness.

OLD ENGLISH−George Arliss magnificently aged in a secondary play by Galsworthy about an old three-bottle English gentleman.

PROCESSIONAL−Murder and rape out of focus−expressionism by the Theatre Guild.

DESIRE UNDER THE ELMS−Eugene O’Neill’s play which, by reason of its art, has defied censorship of its bitter picture of New England infidelity.

THE DOVE−Holbrook Blinn and Judith Anderson in one of David Be-lasco’s accurate pictures of dance-hall life across the Mexican border.


THE GUARDSMAN−Alfred Lunt, Lynn Fontanne and the Theatre Guild cast cooperate to make a slender Molnar comedy of off-stage actor life a distinguished entertainment.

THE FALL GUY−How he couldn’t help being a bootlegger, most amusingly discussed by Ernest Truex.

Is ZAT So?−Flippant and forcibly entertaining farce about two prize fighters who stumbled into a Fifth Avenue mansion.

THE FIREBRAND−Benvenuto Cellini and his surroundings stripped of their brocaded mystery in a satirically modern bedroom comedy.

THE SHOW-OFF−A penetrating and diverting portrait of the irrepressible individual who talks his head off.

PIGS−Young people, rural life and nothing that will displease rigid moralists.


Among the song and dance displays, the following are generally conceded preëminence: Ziegfeld Follies, Music Box, Rose-Marie, Lady, Be Good; The Student Prince.

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