The American drama would benefit considerably if some one would offer a new prize, to be awarded to the first playwright who shall treat college life in a manner convincing to college men. Until some such incentive is offered, the theatrical university and its students will continue to fit the conception of the average American moron.

Luckily, only the first act of "We've Got to Have Money", the new farce at the St. James, is encumbered with collegiate atmosphere. The actors just struggle through the afternoon of commencement day at Columbia, and in spite of the many unnatural lines they manager to give the gallery a great deal of amusement. After the scene shifts to a business office in the Woolworth Building, the blemishes in the dialogue reoccur only when the principals make artificial speeches about having been "old pals" in the good old college days. The improbabilities of a business farce do not matter if they are funny, and after the first act "We've Got to Have Money" is funny enough to make the most gloomy of mortals forget his troubles.

Takes College Course by Proxy

The plot is built around a rich heir who allowed a friend to take his college education in his name while he was going through all the prerequisites for the return of the prodigal. He is in love with the daughter of his guardian, but when another girl sues him for breach of promise the conventionally gruff old man cuts off his allowance and forbids him to see his daughted. Then comes the need of money, and the inspiration for a new way to make it.

The student who had enjoyed the college education turned out to be a genius, with a scheme for a new form of paint drier. If he could finance his invention, all concerned could become rich:-- wherefore the idea for a new kind of business, the American Promoting Company, whose aim it was to finance indigent men of genius.

Final Fade-Out Happy as Usual

After tricking a wealthy college-mate into supplying the necessary capital, the hero proceeds swiftly and firmly towards the inevitable ending, the reconciliation of the terrible-tempered guardian and a happy life forever after.

It would be hard to point to any one actor or actress, or any one situation in the play, as outstanding. Taken all in all, this is one of the most hilarious farces I have ever seen, and it is acted superbly. J. J. Collier '24, as the secretary, has the most serious bit of interpretation to perform, and does it well. Among the rest, Houston Richards gives the most sterling characterization. The honors for most humorous must be divided among the entire cast; indeed, the Boston Stock Company will probably be forced to raise its salaries if it wants to retain the competent staff it now boasts.