A return to experiment marks this first Dramatic Club production of 1946. After a substantial period of repertory works by Shakespeare, Moliere, and Maxwell Anderson (sic), the HDC has turned to the brothers Capek and a play that to American audiences is virtually unknown.

The choice is an interesting one and a good one. Audiences may wonder whether "Adam The Creator" has achieved its purpose--whether, indeed, it has any purpose at all--but they will know at least that the Harvard Dramatic Club has given them something new and vital instead of a warmed-over version of a corner store classic.

More than shrewd choice has gone into the play, too. Within the harrowing confines of Sanders Theatre the HDC has created an exceptionally professional production--satisfactory in acting, setting, staging, music, and, with a few exceptions, directing. And that amateurs were able to meet the problems posed by a play with no known production standard is especially noteworthy.

The play is a dilemma in itself. Dealing in grotesque characters who are symbols of grotesque or obscure ideas, it poses questions far beyond the scope of the average theatregoer who comes without having road the play previously. It is the story of a man who destroys the world because he hates it and then is forced by God to create it anew in the image of his desires.

What form the creations of Adam (for that is his name) take is the plot of the play. The first act deals in humorous satire--demonstrating how the characteristics Adam imparts to his men and women become magnified when they live--magnified to satirical parody of the traits of the men and women of today.

The second act is in a different tone entirely. Here Adam and his disciple. Alter Ego, meet their fate at the hands of their creations. And here the Capeks lose their sense of satire and even of drama and let their play degenerate into a mass of obscure symbolism and meaningless, unmotivated action.

Ted Allegretti does a fine job in the lead role, performing it with the mixture of pathos and humor without which there would have been no play. Robert Lubehansky is perfect as his surfaced Alter Ego, as are several others in lesser roles. Among the females, both Kaye Horan of fig leaf fame and Jane Bergwall are interesting, although Miss Horan would probably be more effective if she did not attempt quite so obviously to add to her natural bodily gifts.

John Holabird made possibly the greatest single contribution to the production with his superb sets, which illumined even the melancholy confines of Sanders. The direction, by Andrew McCollough, was adequate in most cases with a striking exception in one scene in which an orator was placed inconveniently with his back to most of the audience.