The Best Plays

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

Drama

COBRA--Frankly, but somewhat un-gallantly, setting forth that Eve is still the temptress.

THE MIRACLE--Max Reinhardt magnificently making a holy show of religion.

SAINT JOAN--Last week of Bernard Shaw in his most magnanimous mood toward human aspirations.

THE WONDERFUL VISIT--H. G. Wells and St. John Ervine, two very thoughtful gentlemen, teach an angel the futility of pearls before swine.

Comedy

EXPRESSING WILLIE--A deft satire on the ludicrous results when a business man has an artistic reach that is longer than his grasp.

BEGGAR ON HORSEBACK -- Excellent foolery, in which the worm of music turns on big business.

THE SHOW-OFF--A highly ticklesome comedy, turning bombast into a fine art.

MEET THE WIFE--Two husbands of a flighty wife learning the rueful answer to the age-old question: "Who's boss around here?"

THE POTTERS--An American genre study of amusing quality, with oil as the villain.

CYRANO DE BERGERAC--Walter Hampden superbly proving that there's no fool like a gallant French fool.

FATA MORGANA -- An atmospheric, sporty Hungarian comedy in which a matron gives a youth a lesson in love --complete in one night.

THE GOOSE HANGS HIGH -- The younger generation gets its back up and engagingly passes the lie to much current literature.

Musical

Theatregoers keyed up to musical comedy pitch will vibrate in sympathy with Kid Boots, Poppy, Chariot's Revue, I'll Say She Is.