Among the late productions of the year, Henry Arthur Jones' excellent study of "The Lie," in which one sister destroys the immediate happiness of another, with Margaret Illington in the leading rôle, was notable in construction and consistent in characterization. Edward Sheldon was successful in his efforts to bring his version of Sudermann's "The Song of Songs" to New York, where, under the management of Al Woods, it was presented by a "star" cast, headed by John Mason and Dorothy Donnelly.

There have been many attempts to be serious in such pieces as Paul Wilstack's "What Happened at 22," Owen Johnson's dramatization of his novel, "The Salamander," Basil M. Hasting's "That Sort," which was the vehicle for Mme. Nazimova, and E. H. Gould and F. Whitehouse's "What It Means to a Woman," but with dire results, for they are all in the storehouse. George Broadhurst's "Innocent" had a sensational appeal, with a sex interest; the leading rôle was played by Pauline Frederick.

Among the serious efforts of the Stage Society may be mentioned Thomas Heywood's "A Woman Killed with Kindness." At the close of the year, it is understood that this organization is in negotiation with Granville Barker to bring some of his new Shakespearean productions to this country.

in prison, even though popular opinion is on his side. There was much fustian in this play, which no acting of any quality could have saved.

"The Dummy" was a belated detective play, dealing with a kidnapping and how a small office boy worked hand in hand with the best detective of his day. The excitement thus offered by Harvey O'Higgins and Harriet Ford attracted audiences far into the warm weather. Roi Cooper Megrue's “Under Cover," with a phenomenal Boston run to its credit, is likely to repeat history in New York. It is another detective story in which one detective outwits another by appearing to be a smuggler. Thus equipped, he traces bribery and fraud to one of the highest customs inspectors, and wins his wife in a melodramatic manner.

The greatest sensation of the year is Elmer L. Reizenstein's "On Trial," a play cleverly constructed about a court trial, in which the evidence given by the witnesses serves to furnish the different scenes of the piece. The story of the tragedy is told backward, and quick changes of scene bring the court into view at crucial moments. There is a gripping jury room argument also, but the story is very ordinary. As a piece of technique, this is the latest evidence of the fact that the motion-picture manner of telling a story has influenced play writing.

Law of the Land," with Julia Dean. The story deals with a wife's murder of a brute husband and the efforts of her lover to save her from the clutches of the law; this is finally accomplished through the conversion of a sentimental police inspector. Altogether the theatric situations in the play serve to gloss over an unsatisfactory argument.

Decidedly the best melodrama of the year was Willard Mack's "Kick In," a crook play which gripped at every moment and was told with a fresh relish. This was partly due to the superlative acting of John Barrymore in the rôle of a crook who determines to live straight, but who is dragged into innumerable situations worthy of Poe in their gruesomeness. Mr. Mack is likewise the author of "So Much for So Much," in which he himself appeared.

In order to prove that America may have a native Drury Lane, Thompson Buchanan wrote "Life" for William A. Brady. In the number of its scenes, in the unusualness of its sets, and in the villainy of its villain, it thrilled as "The Whip" did a few seaThere is some sort of a story of a wronged girl, in telling which every incident that could be dragged from the melodrama of the past is used.

sons ago.

Gouverneur Morris's stories. The psychology of a deaf man was only feebly depicted, while his sentimental actions were scarcely consistent. Another disappointment was Kate Jordan's (Mrs. Vermilye) "Secret Strings," an improbable detective story, in which Lou-Tellegen exercised his peculiar powers, so picturesquely effective in "Maria Rosa."

One-Act Plays.-A discussion of this genre of drama very largely centers in a consideration of the policy of the Princess Players, pledged for three seasons in New York to the support of the horrific. In January a bill of five playlets was offered, and of the five Campbell MacCulloch's "The Hard Man" was the most distinctive. Maurice Level's "The Kiss in the Dark," right from the Grand Guignol, was a revolting incident dealing with the throwing of vitriol, and the torture meted out to the woman who threw it. C. M. S. McLellan's "The Fountain" was a picturesque, sentimental dream, in which Holbrook Blinn played an old gardener. Laurence Rising's "It Can Be Done" was particularly notable for the clever stage set, the rear end of a moving train. The opening bill at the Princess in the fall again consisted of five playlets, the most distinctive being a revival of Chester Bailey Fernald's "The Cat and the Cherub," in which some years ago Mr. Blinn triumphed as Wing Shee, a Chinese philosopher who strangles the villain of the piece. Henry Arthur Jones's "The Goal" was so devoid of brilliant story that the excellent construction could not save it, while Stanley Houghton's "Phipps," the tale of a philosophic butler, was disappointing. The rest of the bill was negligible in value. Another attempt was made in a complete change of bill, four pieces this time, one by Beulah Marie Dix, "Across the Border" being an ambitious plea for peace in four scenes, partly allegorical, and with a realistic hospital death in the end. George Ade contributed an enjoyable sketch entitled "Nettie," the study of a tough girl who never makes her appearance but who dupes three men, the last one being an old roué, excellently well played by Mr. Blinn. Frederick Truesdell's "The Fog" was a worthy piece of writing, reminiscent

"The Battle Cry," based on a novel by Charles Neville Buck, just escaped having some commendable points. The action takes place in the Kentucky Mountains. Beginning with the feud element strongly marked, the romance narrates the way in which a mere school teacher softens the heart of Bad Anse, a part well delineated by William Farnum. But the dramatization was clumsy and showed haste without any deep understanding of character.

In quick succession three disappointing plays were produced in December. E. Temple Thurston's "Driven" told the drab story of a woman doomed by her doctors to die within two years, and was a very poor vehicle for Alexandra Carlisle, Leslie Faber and Charles Bryant. Otis Skinner was totally miscast in a thin rôle, framed for him by Jules Eckert Goodman in "The Silent Voice," a four-act play taken from one of

During the year, in conjunction with Cyril Maude, Laurette Taylor appeared at private functions in a cleverly constructed one-word play by Frank C. Eagen; a flirtation was described by questions and responses tersely given, the whole spirit of the situation being dependent on the subtle acting. Later on in the season, Miss Taylor, tiring of her rôle in “Peg O' My Heart," gave some special matinees of three one-act dramas by J. Hartley Manners. These play lets have been published, and in no way do they show keen originality. "Happiness" is too much like "Peg" in the characterization of the little dressmaker girl, Jenny; "The Day of Dupes" is a boresome morality which shows the dramatist in serious mood; while "Just As Well" is the study of a feminine Lord Dundreary.

Comedy. J. M. Barrie's "The Legend of Leonora" afforded an agreeable vehicle for Maude Adams, though in the feminine whimsicality of its theme it was not up to the usual Barrie mark. A court scene was amusingly satirized, and the womanliness of a "murderer" playfully depicted. But though the idea was delightful, the characterization and the story were both devoid of deep humanity. Catherine C. Cushing's "Kitty MacKay" was a bright little Scotch comedy, more conventional than "Bunty," and more original in the minor character of Mag Duncan than in that of Kitty. Walter Hackett's "Don't Weaken," entitled "an optimistic comedy," had much good in it but failed to be accepted because of its lack of dash. Rachel Crother's "Young Wisdom," in which both Mabel and Edith Taliaferro appeared, had some clever gibes at the woman movement, and showed the evil effects of promiscuous reading of sex literature on the minds of two impressionable girls. A homely and bright little comedy was Frank Craven's "Too Many Cooks," showing how interfering a large family can be in the love affair of a couple who are earnestly trying to build a house in the country. Mr. Craven repeated his success begun in Broadhurst's "Bought and Paid For," by a rôle much like that of Jimmie Gilly. The present

Billie Burke was presented by Charles Frohman in a coarse little drama by Catherine C. Cushing, called "Jerry," in which a recalcitrant girl wins the sweetheart she wants but is not destined for. A splendid revival of "The Truth" well exhibited the fresh quality in Clyde Fitch's play; it was excellently presented, though Grace George did not erase the past impression of Clara Bloodgood. In "The Charm of Isabel" Sidney Rosenfeld tried to make appealing the story of the girl who couldn't say no; his effort met with cold reception. Then William A. Brady presented his daughter Alice in two impossible comedies, Robert Housum's "Sylvia Runs Away," and George Scarborough's "What Is Love?" Even John Drew's comedy attempt at the beginning of the theatrical season was a failure, Michael Morton's "The Prodigal Husband," the story of a ward's efforts to bring an estranged couple together; Jessie Glendenning was the leading lady.

Making her farewell to the stage, Mrs. Thomas Whiffen was starred with Charles Cherry and Ann Murdock in "The Beautiful Adventure,” an amusing little piece, showing the natural gravitation of a couple toward free love, and an old lady's innocent hastening of risqué situations; the piece was bright and in parts well written. Ruth Chatterton in Jean Webster's dramatization of her popular story, "Daddy Long-legs," is having a long run, owing to the sweetness of its plot, and the daintiness of its acting.

Mrs. Patrick Campbell is in America with Shaw's "Pygmalion" and a revival of Pinero's "The Second Mrs. Tanqueray." The Shaw piece deals with a professor of phonetics who pledges himself to turn a cockney flower girl into a grand lady merely