New Plays in Manhattan

Foolscap (by Gennaro Curci & Eduardo Ciannelli; Sheppard & Buchanan, producers) opens in a ward of a madhouse. A bewhiskered gentleman in a Chevrolet has just bumped into a goaty little man in an Isotta Fraschini. They introduce themselves from adjoining cots, the former being none other than George Bernard Shaw, the latter Luigi Pirandello. Since they are to be confined for at least a week while their bruises heal, the international playwriting team agrees to concoct a drama to be acted by the asylum's inmates.

It is a patient who thinks he is Shakespeare (Geoffrey Kerr), leader of the Little Theatre movement within the walls, who starts the eminent theatricians on their collaboration. Pirandello, the metaphysician jumps at the notion. If these people think they are respectively Eve, Helen of Troy, Cleopatra, Menelaus, Marc Antony and Octavius, then they must be. And it will be a good thing for G. B. S., he wryly points out, to get an accurate picture of historical characterizations for once. Unruffled, Shaw agrees to join the venture if he can write in a scene, well prefaced, showing the evils of vivisection and the boon of vegetarianism. Critics will be a pair of idiots who believe themselves to be God and St. Peter.

In the ensuing gibberish, however, the critics grow disgusted, walk out. That leaves Pirandello and Shaw to fill their places, which they do so capably that there is some doubt if they will ever make their escape from the asylum.

Foolscap, a curious blend of collegiate and professional showmanship, is spotted with as many dull as amusing moments.

Late One Evening (by Audry & Waveney Carten; Harry C. Bannister, producer). Pauline Murray (Ursula Jeans, of London) meets Victor Franklin (John Buckler) under abnormal circumstances. He has just run over her in his motor car. She learns that he was a promising novelist until he inherited some money, quit work. He discovers that she is about to be married to a belted earl. So Pauline and Victor decide to forsake the world and its pomps, start all over from scratch. Then Victor writes a successful book, is rich once more. This time a little, not a motor, accident saves them from themselves.

There are many plays (see below) more suitable to spend your money on than Late One Evening.

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