Something novel in Shakespearean recordings has been introduced in the Margaret Webster "Romeo and Juliet," put out by the Atlantic Recording Corporation. For the first time a conscious effort has been made to recreate, as much as possible, the atmosphere of an actual theatrical production of the play. To do this, Miss Webster uses a battery of four super-sensitive microphones, set up in footlight fashion before the actors. The result of this new technique is greater freedom of movement, and Miss Webster's goal of achieving the feeling of a stage performance is partially accomplished.

Whether or not this atmosphere is an asset in recordings is debatable. The present recordings, two long-playing discs, are not completely successful because often the super-sensitive microphones pick up unwanted sibillances and reverberations. But "Romeo and Juliet" is outstanding for other reasons: an excellent performance by a fine cast, and a delicate understanding of the use of music in aural presentation.

Three performances--Romeo, Juliet, and Mercutio--are thoroughly outstanding. Richard Waring's Romeo is gentle and sad at times, and passionate and exalted at others. His voice is wonderfully modulated throughout the two records, and is always distinct and full of meaning. In the role of Juliet, Eva Le Gallienne attains great emotional conviction with a voice that is both delicate and strong. Dennis King, as Mercutio, is spirited and fanciful, and always in the true spirit of the apart. For the most part the performances of the rest of the cast are above average, except for Preston Hanson, whose reading of Benvolio is wooden and meaningless.

Tchaikowsky's "Romeo and Juliet" overture is used as a background for and a bridge between some of the scenes. George Cory's adaptation becomes an integral part of the production, and the only complaint that could be made is that there is not greater use of music, Music, more than "theatrical atmosphere," is the supreme cohesive force in play recordings and broadcasts. True theatricality can be achieved in recordings by the understanding use of the limited elements at hand, rather than by cutting the wax on an actual stage.