"The End of the Bridge", which holds the stage at the St. James this week, has been called the best-as it is the first-of the Harvard prize plays. It is a sombre piece; there is scarcely a laugh in it. It has none of the sparkle of "Believe Me, Xantippe", nor the comedy shadings of "Mamma's Affair". Nor it is a thesis play like "Common Clay". There is behind it no idea, no criticism, no "slant" on Life such as we are accustomed to look for in the "serious" plays of today. It is simply a story, a powerful, unembroidered study of three characters who find themselves in a difficult and potenially tragic situation. A nerve specialist who marries a patient whom he does not love in order to save her life, thereby abandoning temporarily a priceless opportunity for research work in Germany (needless to say this is before the war)-that is the "point of departure" which provides a couple of excellent acting parts. The reaction of the individuals to this sate of affairs as the woman regains health constitutes the play-simple, direct, and frequencly "gripping".

As played on Monday night, however, the first act proved a trifle slow. The stern, undemonstrative nature of the Doctor, his devotion to the Mannering family, the "no attachment" clause in the contract with the German University-all the necessary facts, in short-are brought out, but the act falled to move with just that sureness and "drive" which are needed to get the material over to the audience. There is a bit of interesting action toward the end, and the curtain could hardly be bettered.

Once fairly into the story, the play moves more easily. The devotion of Peter, the office boy, the man who has cured his back; the dawning affection for the Doctor on the part of his wife; the awe and fear, almost, with which they both regard him, are set forth in the second act. We have the light laughter of the pair as they romp upstairs contrasted sharply with their mouse-like timidity whenever they are where they are likely to meet the Doctor. Again a good curtain is afforded, when the Doctor for the first time emiles at Peter and pats his hand.

Thenceforward the play moves onward to its climax by introducting a new complication: the Doctor-feeling that his wife must soon realise why he married her-consults his friend and lawyer, Mariott, concerning how she (not himself) may obtain the freedom he unturally expects her to desire. His wife overhears him and realizes that though he thinks of her feelings, he is still anxious to go to Germany. She therefore determines not to stand in his way, but to divorce him so that he may fulfill the clause in the contract. She goes with Peter to the country for a few weeks, until the Doctor and Mariott, unable to bear the loneliness of life in the city, suddenly join them. From there the obvious conclusion is easily reached.

In this material the Boston Stock Company seemed, somehow, to move with less than usual skill. Miss Mason as Joan did some excellent work in the scence where she is supposed to be under great nervous strain, but on the whole the acting lacked that sureness of touch which the play demands if it is to be lifted out of the commonplace. The characterization is not subtile, but neither is it obvious; careful handling of the parts is essential to a good effect. As Peter, Miss Goad's voice is much against her, and her portrayal of the boy was not always sucessful. Mr. Charlton as Doctor Garret is too repressed he finds it so easy to look grim and sad that he frequently overdoes it. In "The End of the Bridge", the Boston Stock Company has got hold of a very difficult, though interesting, piece. All in all, they acquit themselves creditably, if no more. W. R. B.