Arriving with all the polish accumulated during its long Manhattan run, "Anna Lucasta" combines enough punch and discriminate pacing to present a mundane theme in an engrossing manner. With an all-Negro cast that has added the experience of a long run to its initial first-night spark, this comedy-drama successfully handles the story of a prostitute who for the first time is loved for what she is, not for what she represents; and does this by neither patronizing the subject nor burlesquing it. The story is realistic without being objectionable, and includes just enough finesse to slip by the Blue Laws.

Reversing the usual formula and coming to Boston after a winnowing road trip, "Anna Lucasta" is a relief from the glut of ubiquitous tryouts that usually dominate the Boylston boards. After long acquaintance, the cast has mastered its vehicle sufficiently to give a performance that is fluid throughout, practiced, but not off-hand. The difficult problem of presenting a prostitute with sympathy rather than derision is artistically accomplished and the mother's benevolent attitude toward her wayward daughter is made understandable, not ridiculous. The clash of wills between the unrelenting, religious father and his family is demonstrated so convincingly by inference in the preliminary scenes that the final denouement and ensuing household-rending fight seems unavoidable rather than contrived.

Rex Ingram as a recalcitrant brother-in-law and Isabelle Cooley as Anna have the major parts, but there is only a fine line dividing the skill of the starring roles and supporting ones. Delineations of a philosophical bartender and a pseudo-sophisticated street-walker are especially well done. But the primary attribute of the play is that it can discuss a significant problem in an objective and straightforward manner, without destroying the inherent qualities that make it, above all, good theater.