To the Editor of the CRIMSON:

In connection with the quotation, printed in Wednesday's CRIMSON by Walter Pritchard Eaton, an article by the same author in the CRIMSON of November 28, 1925; is relevant. In that article Mr. Eaton wrote that the movies had largely destroyed the old travelling stock companies, but that a great deal of theatrical experimentation was being accomplished by amateur organizations, which took the place of the stock companies. "The whole renaissance," he said "of amateur theatricals on a dignified same scale owes its origin to George Pierce Baker."

Mr. Eaton then recognized that "the Harvard Dramatic Club, since the official abandonment by Harvard University of courses in practical theatre art, seems to me to have an important function, the function of keeping alive or of awakening among students of the rising generation, a serious interest in the problems of the contemporary theatre, and of giving them, also, an opportunity to practice the arts of the theatre."

Expressing the same sentiments as those in his more recent article, Mr. Eaton said: "Nothing in recent years has hurt me more than to see official Harvard repudiate the amateur theatrical leadership it had so bravely assumed, and nothing would buck up my pride more than to see the Harvard Dramatic Club so supported by undergraduate enthusiasm that it could carry on the good work whatever the attitude of the authorities. The theatre of tomorrow belongs to the youth of today. The Harvard Dramatic Club is youth, I hope confident, I hope daring, I hope full of the will to experiment."

That the Harvard Dramatic Club is all these is fully demonstrated by the fact that only once in its history, in the case of "Brown of Harvard," has the Club produced a play which has previously appeared on an American stage. The acclaim of such critics at H. T. Parker and Philip Hale, the attendance at performances of such New York producers as Guthrie McClintic and Kenneth MacGowan, and the subsequent production of three Dramatic Club plays on Broadway are convincing evidence that the Dramatic Club does have some influence on the American stage. But those who should take most pride in this fact ignore it, the spectators at the Club's performance consisting twenty percent, of students in the University and eighty per cent of outsiders. Harvard's only dramatic contributions are being received apathetically by the under graduates and though the Club may do its best, little of value can be accomplished while this state of affairs exists. K. A. PERRY '28.

President of the Harvard Dramatic Club.