Theatrical check list

George Jean Nathan

• THE SKY'S THE LIMIT! (Fulton) Smith and Dale, the vaudeville comics, perspired copiously in an attempt to invigorate a defunct radio farce by the Messrs. Johns and Booraem.

• CALLING ALL STARS (Hollywood)—A vaudeville show that would have killed vaudeville several years before it died from natural causes. Even Phil Baker and Lou Holtz, usually amusing, are on this appearance pretty blue.

• ANYTHING GOES! (Alvin)—Cole Porter's gay contribution to the music show stage. To he recommended to everybody who has been stuck with Calling All Stars.Victor Moore and William Gaxton are the star pantaloons—and good, too.

• GOLD EAGLE GUY (Belasco)The otherwise commendably enterprising Group Theatre dedicates its art to a rickety melodrama in which Mr. J. Edward Bromberg heaves and grunts himself into what is supposed to be a striking picture of an important commercial personage in the California of the sixties. The scenery, however, for the most part plays its role quietly and effectively.

• THE CHILDREN'S HOUR (Elliott)- Despite several flaws, a meritorious contribution to what is still euphemistically called the American drama. One of the few plays of the season that may safely he brought to the attention of the more particular theatre customer.

• SO MANY PATHS (Ambassador)— Irving Kaye Davis again lowers the standards of the drama, this time with a honey setting forth how difficult it is for an opera singer to get along unless she succumbs anatomically to the advances of some rich old papa. (Why are these opulent old hoys always—in the theatre—so excessively sexy?)

• SAILORS OF CATTARO(Civic Repertory)—Friedrich Wolfe's melodrama of revolt on the Austrian flagship in the last year of the late war. It has its moments, though its hours are hardly all they might he. The Theatre l nion, however, seems to he on its way to doing things.

• REVENGE WITH MUSIC(New Amsterdam)—Lovely to look at and pleasant to listen to while the band is playing, hut less happy on the ear while the book is being recited. However, in the aggregate, a musical show that has much to recommend it.

• VALLEY FORGE(Guild)—One of Maxwell Anderson's weaker efforts. He himself is doubtless no more satisfied with it than most of the rest of us. If he is, I—as one of his sympathetic critics —should lie surprised.

• PAGE MISS GLORY (Mansfield)—The boys in the box-office will be the best and most suitable critics of this one. It has little to do with drama.

• THE DISTAFF SIDE (Booth)—Sybil Thorndike in John Van Druten's Valentine to the pure and noble in heart. For those who like their drama sweet and tender.

• PERSONAL APPEARANCE (Miller)—One of the season's biggest commercial successes; one of the reviewers' pet masterpieces; and another of the retarding influences on a potentially finer and better American theatre. (It's about a lecherous movie actress and an innocent filling station Adonis.)

• THE FARMER TAKES A WIFE(46th St.) —Erie Canal lore dramatized by the Messrs. Elser and Connelly. Mildly agreeable but it will hardly lift you out of your seat.

• SAY WHEN(Imperial)—Night club humors retailed by Harry Richman and Bob Hope. Not as unfunny as some of your more refined friends will assure you.

• THE GREAT WALTZ (Centre) — A ham sandwich served on a gold plate by several hundred footmen, all in gold braid. There is a rumor that it contains some Strauss music.

• LIFE BEGINS AT 8:40 ( II inter Garden) First-rate light pastime, with some very amusing skits and with Bert Lahr doing the best by them.