THE CRIMSON PLAYGOER

With the appearance of straws and the beginning of the hegira to Revere Beach, the end of the "legitimate" season in Boston draws toward its close. "The Tavern", at the Tremont, is probably the last of the reputed first-rate productions that we can look for here before next fall, and it is not the sort of play to suffer much from hot weather. The fickle Mr. Cohan, who sometimes make us suspect that he is as good a publicity agent as he is actor, author and producer, has broken his vow of theatrical chastity again and honored Boston with his presence behind the footlights. His part in "The Tavern" is thoroughly charming; the play itself is as hearty and artistic a burlesque as one could desire.

The second and third performances of the Dramatic Club last week were as successful as the first. "Beranger" has received more acclaim from intelligent critics--and deservedly, we think--than any other Dramatic Club production in recent years. Most to the credit of the club is the nature of the praise--not for any single feature, but for choice of play, translation, acting, setting, costuming, and production equally. It is only to be regretted that the performances were so limited. With a success like "Beranger" behind it, there is no apparent reason why the club should not try its fortunes beyond the bounds of Boston. Why not a European trip for the D. C.?

Those initiated to the mysteries of Yiddish, as well as devotees of art for art's sake regardless of the medium, will hail the return of Maurice Schwartz and his players of New York's Yiddish Art Theatre. Their work there has roused the enthusiasm of many who understand not a word of the language. At the Grand Opera House on Friday and Saturday they will present again the famous "Dibbul" and on Sunday the original version of Gorkl's "A Night's Lodging".