Little Theatres are sprouting up by the handful. The Punch and Judy Theatre is a clever imitation of the theatrical prototype, with benches for seats, wall boxes for two only, and boy ushers. It is the personal enterprize of Charles Hopkins, a Yale graduate who shows his enthusiasm by combining not only the rôles of actor, manager, and producer, but owner and playwright as well. He has not yet, however, put on any of his own plays. Mrs. Hopkins, a really talented graduate of Ben Greet’s company, plays the feminine leads. The Neighborhood Theatre is a quasi-philanthropic undertaking with enough money behind it to aspire to the new stage art in all its magnificence of the concrete dome and more expensive settings. Perhaps the most interesting of all will be a new theatre planned by the Washington Square villagers under the leadership of a committee among whose members are Mr. and Mrs. Max Eastman and Charles and Albert Boni. It will be supported principally by its own subscribers at a very moderate expense, and will be as far as possible from a philanthropic attempt to “elevate the stage.” It is the result merely of a belief that here is a group of people who want to see more intelligent drama than is ordinarily supplied, and that the dramatic material and acting and producing ability are available. Plays by American authors will be used as far as possible, but the standards will not be lowered for the sake of encouraging either authors or propaganda. Such a thing cannot avoid being at least a healthy experiment.