In November of last year a group of Harvard undergraduates, accompanied by Professor Parker of the Harvard English Department, called on me, and at the same time on Winthrop Ames and Lee Simonson and asked us to help them form a school of the drama in Cambridge. The Harvard faculty seemed unwilling to provide the desired instruction in the arts of the theater and since Professor Baker’s withdrawal there had been no Dramatic Department. Mr. Ames, Mr. Simonson and I called a meeting of Harvard graduates at the Harvard Club and asked these boys to meet us there and tell us their troubles and their desires. As a result of that meeting the Cambridge School of the Drama was organized with a board of governors whose names read like an all-star cast. At this school students of Harvard and Radcliffe and a limited number of outsiders may now take courses in dramatic technique and the arts of the theater. The faculty of the school is composed of Albert R. Lovejoy, Walter Prichard Eaton and H. W. L. Dana. The visiting lecturers and board of governors, each of whom is to lecture once each term and meet the students for informal talks, are: Lecturers on play production—Winthrop Ames, Vinton Freedley, Kenneth Macgowan, Gilbert Seldes, Maurice Wertheim. Lecturers on drama and criticism—Heywood Broun, J. Brooks Atkinson, J. W. D. Seymour, H. K. Motherwell, John T. Williams, Isaac Goldberg, Professor C. T. Copeland, Norman Hapgood, Prof. J. Tucker Murray, Owen Wister, Robert Littell, H. T. Parker. Lecturers on stage lighting, scene designing, etc.—Lee Simonson, Robert Edmond Jones. Lecturers on play construction—Eugene O’Neill, Sidney Howard, David Carb, Philip Barry, Edward Sheldon, Percy Mackaye, Robert Sherwood, S. N. Behrman, Owen Davis. Lecturers on the art of acting, etc.—John Mason Brown, Walter Hampden, Elliot Cabot, Robert Middlemass, Osgood Perkins. There is a list for you! All Harvard men and all men who have done real work. I can remember when I was one of three Harvard men in the game. Now we are getting our new blood from all the great universities. Walter Eaton told us at one of our meetings that he had listed over five hundred universities and high schools in the country that were giving special courses in the Arts of the theater! Does that look like a dying institution? Five hundred schools turning out each year a flock of boys and girls who, if they have learned nothing else, have learned to love the theater. To me that doesn’t spell the end of the theater, it means the beginning, and I am eager to try to teach our own little group all I can before they get started on their own and get so far ahead of me that I shall have to turn about and study their methods.