Old age, on the whole, has been handled rather shabbily by the dramatists. When the eldest generation is not putting obstacles in the way of young love, it is usually portrayed as composed of cynical and dyspeptic individuals ever on the alert to quench the enthusiastic fervor of youth. If an occasional sympathetic portrayal is presented, as in "Old English" the hero is made out to be scapegrace of one sort or another whom one loves partly in spite of and partly because of his faults. Serafin and Joaquin Quintero, the leading present-day Spanish play-wrights, have made a real addition to the literature of the stage in "A Hundred Years Old" (El Centenario)' for this play, now being shown at the Majestic, is unique in that old age is glorified in its own right.

It is a remarkably leisurely, tranquil play, with none of the rapid pace and high tension upon which many productions rely for their effect. Coming like an old-fashioned waltz in the midst of a jazz program, it takes a little while to become adjusted and for some may seem slow and dull. But for those who can make the transition, there is beauty and wisdom in store.

Papa Juan, the centenarian around whom the story revolves, is a fine old man, kindly, good and wise, who has used every year of his age to the fullest and still has as keen an interest in life and as live a brain as any of his three generations of descendants. With real finesse is the character drawn. The other members of the family who one meets as the play progresses all must yield in some point to its head. Don Evaristo is a bit crotchety, Dona Filomena is on bad terms with everybody; Dona Marciala is intolerant towards Gabriella, the erring sister of the family, when Papa Juan would ask her to his hundredth birthday party. But the old man rises above them all, smoothes out the quarrels and before the play is half over has so won the sympathy of the audience that one wishes he could fulfill his facetious determination to live to be two hundred.

For this vivid portrayal Otis Skinner is no less responsible than are the authors. He meets the varied requirements of the part with admirable skill and the scenes with his granddaughter, Currita, are particularly well done. In the supporting cast the acting sets a high standard, with Fred Tiden and Katherine Grey heading the list. Mary Arbenz and Mary Howard bring youth and attractiveness to the juvenile roles. Hardie Albright, on the other hand has a professional buoyancy too reminiscent of a successful bond salesman to be quite convincing in the part of Trino.

If one enjoys delicacy of characterization and does not require rapid-fire action to make a play pleasing, "A Hundred Years Old" can be thoroughly recommended for a refreshing evening.