The most interesting thing about "Winterset," currently being revived at the Copley Theatre, is the fact that it is a revival--of the Maxwell Anderson of several years ago. More particularly, it recalls vividly to mind the kind of work the man was doing, at that time, and it leaves the discouraging impression that since then he has been losing himself almost as rapidly as hopelessly. Then he was a man who was full of faith and sureness, who could say about the deaths of Mio and Miriamme: "This is the glory of both men and women." Perhaps things like that were easier to say and believe a few years ago than now--but it is hardly a happy sight to face a stark demonstration of that fact.

"Winterset" is Anderson at his best, although, of course, it cannot rightly be said that Manager Alan Gray Holmes' production is "Winterset" at its best. But even if there is some lack of understanding and subtlety, this is more than compensated for by sincerity and vigor, and at all times the play is entertaining and enjoyable. Vola Blakely is a convincing and wistfully tragic Miriamme, and she is notable for never falling out of part as do most of the others at one time or another. William Shea's Mio is versatile and effective--would be more so if he would stop trying to out-Meredith the inimitable Burgess.

And there is no doubt by this time that Director Erford Gage has an experienced knowledge of what constitutes good theatre--even though he lets slip some clumsy moments in the first act bridge scene. Stage Manager Hildon Cooper probably has budget troubles, but he relies on simplicity for his effectiveness. These stock productions are always a bit rough and sometimes they are even crude, but they've got something more than finish: the proper attitude toward the theatre.