In spite of Mr. Kerensky's pessimistic views on the present situation in Russia, and his belief that the Soviet system i stamping out all production of every kind in that unfortunate country, art and particularly dramatic art will out; and not only that, but it seems to be producing in three distinct branches some of the most distinctive work of the moment.

With the advent to the boards of the Boston Grand Opera House this evening of the Habima, the Jewish theater of Moscow, it seems appropriate to recall the two other remarkable troupes of Russian players which in the past few years have come to town. It is hard to say which of the Moscow Art Theatre or the Chauve Souris made the most lasting impression on the theatre-going public. M. Stanislavsky and his players gave the sophisticated playgoer a tonic which did much to put new blood in his veins and awake him once more to the infinite possibilities of the drama well presented. The other group, pointing ostensibly toward the other pole of the theater, gave us a new sensation in the world of the review. The moon-faced and altogether rotund. M. Balieff, with his apparently broken English and thousand quips and merry sayings, presented his sequence of light-hearted acts in a manner new to the American stage. Little scenery, perfect acting in any situation whatsoever, things unfortunately quite lacking in the reviews, were the two pins upon which gorgeous pageants which are American revues. M. Balieff hung his carefree production. He knew the right measure of the various components which go to taking the successful production. The same of course holds true in the case of M. Stanislasky, and it must be a oy to the lovers of his productions and the superb handling which he gives them, to know that he is intimately connected with the Habima.

Pure Hebrew is the speech of the stage when the Habima presents, and in this tongue four pieces will be presented. They are, -- "The Golem;" "Jacob's Dream;" "The Dybbuk;" and "The Eternal Jew." As in the case of the Moscow Art Theatre, knowledge of the language of the players is by no means necessary; the astounding effects make their impression regardless. Such men as Maxim Gorky, Stanislavsky, Ghaliapin and Lenin have been won to the cause of the Habima at their first performance, and it is due to the ardent championing of these men that the Habima has survived the troubled days of the Revolution, and is now able to offer to Boston the astounding perfection of dramatic art which is its and which has caused such a stir in all the capitals of Europe and in New York.

But we cannot prattle on forever about the doings of the theatrical world for it is primarily to the unusual offerings of the lecture rooms that we should devote ourselves. Hence we hurriedly affix the cultural table d'hote:

9 O'clock

"Japan: Internal Development and Relations with Occidental Powers, 1858-1894. Dr. Hornbeck, Harvard 3, History 18.

"State Income Taxes"; Professor Burbank, Harvard 6, Economics 5.

"Coinage Systems of the Sixteenth Century"; Professor Usher Widener U. Economics 10b.

10 O'clock

"The Balmacedist War in Chile"; Professor Haring, Emerson D, History 56.

11 O'clock

"Party conflict and the Tariff, 1889-1897. Professor Schlesinger, New Lecture Hall, History 32b.

12 O'clock

"Early Christian Architecture in Syria" Professor Conant. Robinson Hall Pine Arts 3b.

Widener Professor Hill, Music Building Music 3.