Inveterate theatergoers will find Boston dull this next week. Of course they can still go to see "Biography" or "Let Em Eat Cake" if they have not done so already; the former is the more finished product. Gershwin, Gershwin, Ryskind, Kaufman, and Sam Harris; the combination should have been able to produce another hit equally as good as "Of Thee I Sing," but success seems to make writers a little stale; this brings me to Mr. O'Neill.

From Mr. Hammond and Mr. Atkinson come the reports that "Ah Wilderness" is not what it might be, and that George M. Cohan carries the play by himself, making the evening quite pleasant. The greatest contemporary American play-wright,--so I have heard--Eugene O'Neill, has a difficult task in maintaining his reputation. When he was in Provincetown, he was comparatively unknown. He wrote slight one act plays for a while which still have a few followers. Then came success with a series of popular plays, but he was rarely heralded by critics as the foremost dramatist until he reached the psycho-analytical period. Here he reached the peak with "Strange Interlude." Soldier, sailor, tinker, tailor, doctor, and butcher flocked to this intellectual play. Being intellectual was the fad of that period; you might surreptitiously go to see Clara Bow, but you were "passe" if you couldn't discuss your complexes and O'Neill intelligibly. Then came "Mourning Becomes Electra." The public tried to be classical and pronounce Oedipus and argue about the merits of Aristophanes--now was it he or Sophocles. But the great masses were too lazy to go to libraries for research; "depression" in one sense was enough. O'Neill had failed to pick the "psychological moment" to present his tragedy, so now we have him in a lighter vein. New York has not been very pleased with the attempt, but Boston should have a chance to judge for itself before the end of the season.

Queenie Smith and Otis Skinner in "Uncle Tom's Cabin"--it doesn't sound right. However, this play is scheduled to open Monday, October ninth, at the Colonial. Eva Le Gallienne's company comes on the sixteenth of October to the same theatre to present "Romeo and Juliet"; it will give a single benefit performance of "Alice in Wonderland," which is worth seeing. So popular was it in New York last season that it was moved to Broadway from the 14th Street Theatre.