Best Bets on Broadway

Point of No Return. J. P. Marquand's novel of life among the up & coming translated into a slick stage success (see above).

The Constant Wife. Katharine Cornell's revival of Maugham's smooth-as-glass sex comedy of deception and self-deception (TIME, Dec. 17).

I Am a Camera. Julie (Member of the Wedding) Harris as a bad little good girl in John van Druten's pastiche of Christopher Isherwood's tales of Berlin in 1930 (TIME, Dec. 10).

Don Juan in Hell. Charles Boyer, Charles Laughton & Co. turning Shaw's most dazzling talkfest into the season's most delightful theater (TIME, Nov. 5).

Saint Joan. A middling production of what is perhaps Shaw's greatest play (TIME, Oct. 15).

Two on the Aisle. Topical revue with Bert Lahr and Dolores Gray, which can thank its stars for its brightness (TIME, July 30).

The King and I. Charming Rodgers & Hammerstein period musical, with Gertrude Lawrence; how the King of Siam learned to govern from a governess (TIME, April 9).

The Moon Is Blue. Barbara Bel Geddes brightening a gay formula comedy of Boy-Meets-Girl, Girl-Meets-Wolf, Wolf-Meets-Waterloo (TIME, March 19).

Guys and Dolls. Delightful lowdown musical about Broadway's floating crap games and the Damon Runyon babes who need new shoes (TIME, Dec. 4, 1950).

Call Me Madam. Big Broadway musical with Ethel Merman as a lady ambassador but, fortunately, no lady (TIME, Oct. 23, 1950).

South Pacific. Broadway's oldest inhabitant, in its 32nd month, with Roger Rico and Martha Wright as the current heirs to the roles first occupied by Ezio Pinza and Mary Martin (TIME, April 18, 1949).

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