The Experimental Theatre of Boston faces the problem of the theatre in-time everywhere in the United States. It must steer a safe course between the clashing rocks of the stock farce and melodrama and the self-conscious radicalism that leaves its seats all empty. When Winthrop Ames took Arthur Schwitzler's "Anatol" over the censorship hurdles same years ago, he beat the Foley of that day by enough so that you needn't go to settle that question. One regrets that the Experimental Theatre throws away a chance to make an honest experiment. Go, if you like to sit in a little theatre which was once a barn, half of whose seats are the benches that nested a million commuters in the old North Station. Edward P. Goodnow '17 is an Anatol varied and careful in gesture.

His foil Max, though miscast, lives down by capable work one of these curtain speeches about "illness. . .kind consented. . .learned the part overnight" that are such a ball-and-chain on amateurism, and which were burlesqued out of sight by Beatrice Herford in "Cock Robin". Minder Sewall as Mimi, Allegra Mackay as Bianca, and Louise Piper as Hilda lift the play, but nothing like the way Ruth Bond Hill does, as Lona who spends the night before Anatol's nuptials to another chez Anatol.

It costs $1.25 for a "trial membership". The theatre is at 36 Joy Street, where one enters through a bookshop. During quiet moments of the play you can hear the footsteps and words of people walking down muddy Beacon Hill. Probably it is a synthetic Bohemia, but it will do.