THE DRAGGING HUB

Not in the memory of the present college generation has there been such a series of theatrical events that might justly be called attractions, as this month of May is bringing forth in the vicinity. The boards of Boston play-houses are echoing to such diverse things as the tread of Shakespeare's clowns and the rhythm of the clog-dancers of Good News; and the Charles is no longer the dividing line between culture and the foothills, for to-night the Dramatic Club brings Bagdad "to Brattle Hall, and offers the softer" pacing of lissom Eastern maidens. Next week caps the dramatic excellence of the month, however, with the visit of two of New York's most celebrated stage organizations.

Eva Le Gallienne and Walter Hampden lead to Boston companies that have won wide and merited fame. In contrast to the frothy fare typical of so much of the stage, they have both chosen substantial material. Isben is no easy author to interpret, but Mr. Hampden has not stinted his labor, and represents Shakespeare with a Hamlet over whom cynical reviewers have grown enthusiastic.

The system of presenting a repertory of plays, not unified in being of one type or by one author, which both these companies employ, has grown immensely in favor during recent years. Perhaps its most conspicuous devotee is the Theatre Guild of New York, with a long record of successful revivals, and presentations of important new plays. But while New York lias sat at a feast of dramatic good things, Boston has had lean fare. The Repertory Theater here is but a shade of what it might have been. Henry Jewett's company struggled valiantly but some spark of public interest or box office magnetism was lacking, and so Boston's theaters must depend consistently on what New York may send them. The times are ripe for some pioneer to do for Boston what the Guild, the Civic Repertory, and Mr. Hampden have done for New York: and, if the attitude of the public is an accurate indication, he need not fear failure.