The latest production of the 47 Workshop, one of the few that the general public has been privileged to see, has aroused a storm of suggestion an advice from the numerous critics in Boston and New York. These have been asking, in their reviews of "A Punch for Judy", a comedy of an American business man and his family, why the Workshop does not stick to a more artistic, more unusual type of play, that is in keeping with the present-day, conventional conception of high dramatic ideals. One perhaps not understanding the purpose of the Workshop, suggests a presentation of the efforts of the best contemporary writers: another, the revival of the little seen plays of Elizabethan authors; others have still different proposals.

The critics in Cleveland, Buffalo and Albany, on the other hand, as well as the general public, were highly pleased. One expressed the sentiment of the audience by stating that the play was a same presentation of modern youth. Spectators away from Boston and New York seemed to take pleasure in finding that the Workshop was playing a piece that was not "highbrow",--that interested and amused them.

That the Workshop should prove it is not entirely in the hands of experimenters in the vague, esoteric realms of ultramodernism, is nothing to be deplored. Far too often, organizations of this type progress beyond their public's ability to follow; and by so doing, lose the power to accomplish anything for the advancement of the stage. The Workshop, by putting on a play of everyday life, has done much to win the confidence of the every-day follower of the drama.