Again I must report the not too surprising fact, considering the economic conditions of the New York stage, that Shakespeare has not been among the season’s major dramatists. To be sure, the incidence of professional productions here has risen one hundred percent, but truth compels me to add that this represents an increase to two productions in contrast to one last year. Then we saw Henry VIII given as the American Repertory Theatre’s first offering. This year we have had Antony and Cleopatra produced by our leading actress-manager, Katharine Cornell, and Macbeth produced by Theatre Incorporated with Michael Redgrave and Flora Robson in the leads. Outside New York there have been the usual college and university showings but none of a nature to attract very wide attention, nor did that staunch upholder of the Bard, Maurice Evans, tour through the country as he did the year before, carrying an amiable Hamlet to an enthusiastic hinterland. Evans deserted Shakespeare in favour of Shaw and has devoted his season to a highly successful run of Man and Superman—which is reputed to be driving the author mad because of the giddy flights of income tax to which its revenue subjects him. Shakespeare, who need not concern himself with income tax, has not this year contributed as generously as last to his producers’ exchequer. Antony and Cleopatra was an expensive and weighty production, and probably did not do much more than “pay off”; and the Macbeth, though cordially received, had only a short run.