The Best Plays

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

Drama

CHILDREN OF THE MOON--Showing that the amatory influences of moonlight are not the only unbalancing effect its beams may have on the human mind.

RAIN--With the help of Jeanne Eagels and a few marines this study of sex in the South Seas has become "the most successful play in America."

SEVENTH HEAVEN--Gutters and garrets of War-time France. Helen Menken mounts from one to the other with good effect.

SUN Up--An intense study of the primitive. Carolina mountain folk, mother love, cowardice, feudal hate, war.

THE LULLABY -- A prostitute's progress lifted close to the sublime by Florence Reed.

Comedy

AREN'T WE ALL?--This curious title is amplified in the curtain line of the play into " Aren't we all damn fools?" Cyril Maude and a particularly good cast argue a diverting affirmative.

IN LOVE WITH LOVE--Lynn Fontanne at her best as the girl who would marry three attractive young men if the law allowed.

LITTLE Miss BLUEBEARD--Consist-ing mainly of Irene Bordoni's large eyes and Avery Hopwood's small talk.

MARY, MARY, QUITE CONTRARY-- After several years of bad plays, Mrs. Fiske reestablishes herself in a trivial delight by St. John Ervine.

MERTON OF THE MOVIES--Glenn Hunter and his colleagues make impudent grimaces at Will Hays and Hollywood.

THE CHANGELINGS--Wise, good-humored comedy presenting Henry Miller, Ruth Chatterton, many epigrams, the married state.

TWEEDLES--An affable diversion largely devised by Booth Tarkington. Proving that the unwritten social register is sometimes stronger than the one in circulation.

Musical Shows

Devotees of chorus girls have approved particularly of the following musical comedies: Poppy, Music Box Revue, Greenwich Village Follies, Sally, Scandals, Wildflower.