The Best Plays

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

Drama

ELEONORA DUSE--The greatest name in the world of the theatre retaining its compelling power by reason of a woman's ageless spirit.

Moscow ART THEATRE--Russian Repertory which was barnumed into sensational success last season returns to mop up.

RAIN--Jeanne Eagels in her fifth century of performances as a 20th Century harlot in the South Seas.

SIR JOHN MARTIN-HARVEY--Showing that repertory may be both classical and profitable. Hamlet and The Shrew next.

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

SUN UP--A tragic page torn from the primitive history of Carolina Mountain folk.

TARNISH--Telling in bitter terms how man blurs his life by compromise with moral standards.

Comedy

AREN'T WE ALL ?--Convincing and immensely diverting discussion of the inseparability of a sense of humor and successful matrimony. Cyril Maude chiefly concerned.

THE CHANGELINGS--A moderately amusing comedy of twisted identity made into the semblance of important entertainment by Henry Miller, Blanche Bates, Ruth Chatterton.

CYRANO DE BERGERAC--Walter Hampden's revival of Rostand's classic comedy. Just about the most satisfactory combination on the current playbill.

IN LOVE WITH LOVE--Smart in-consequentials made singularly entertaining by Lynn Fontanne and a deftly devised production.

MARY, MARY, QUITE CONTRARY-- Mrs. Fiske winding up her brilliant engagement in St. John Ervine's comedy of English life.

THE NERVOUS WRECK--Thunderous farce demonstrating that a week in the wide open spaces is more valuable than carloads of pink pills.

THE SWAN -- Exceptional high comedy of Royalty by Franz Molnar brought beautifully to life by striking performance against a background perfect in color and detail.

WINDOWS -- The Theatre Guild prospering with a play by John Galsworthy on the psychology of a wayward girl.