There is coming soon, to the Fine Arts Theatre—that charming Chicago home of the Irish Players and of “the new note” in drama—a play with an interesting title. It is called Change. It is to be given by the Welsh Players—which fact alone has a thrill in it. But the theme is even more compelling.

Two old God-fearing Welsh people have denied themselves of comforts and pleasures to give their sons an education. Then, when they expect to reap the benefits of the sacrifice, three unexpected and awful things happen: the student son has so fallen under the influence of modern skepticism as to be forced to abandon his father’s Calvinistic creed. The second one has become soaked with socialism and syndicalism. The third, a chronic invalid, is a Christian and a comfort; but he is killed, quite unnecessarily, in a labor conflict instigated by his brother. Then—the two old people again, alone. What can a playwright do with such a situation? Nothing, certainly, to attract a “capacity house.” But we shall be among the first of that small minority who likes thinking in the theatre to hear what Mr. Francis has to say. His theme is tremendous.