BACKSTAGE

Its pockets bursting with mill-gotten gains, a new class of theatre-goers may force a perceptible change upon American drams, Katherine Cornell, one of America's foremost actresses, said last Saturday in her dressing room at the close of the first week's run of "Lovers and Friends."

The presence of these theatrical new-comers in the audience, although welcomed by actors, sometimes produces a feeling of uncertainty among them since they cannot be sure of the reactions which particular lines will elicit from spectators whose ears are more a tuned to the traditional cliches of the movies," she added.

Her latest vehicle presents a sophisticated quadrangular situation which is a sharp departure from her last three plays, "Candida," "The Doctor's Dilemma," and "The Three Sisters." These were all period pieces with some degree of the social significance from which Miss Cornell has determined to escape, at least temporarily. She believes that modern drama cannot do justice to a contemporary event of such significance as the present war while it is in the process of unfolding.

Her versatile career has included such checkered roles as Elizebeth Barrett Browning, St. Joan, Juliet, and the lead in "Bill of Divorcement," her first prominent part. Although "The Barretts of Wimpole Street" extended to 900 performances, Miss Cornell's favorites are Shavian and Shakespearian roles. As she has no other plans beyond her current production, she may perform "The Barretts" again for a year's run in army camps. Her husband, director Guthrie McClintic, who directed "Lovers and Friends," co-decides with her in the selection of all her manuscripts, she revealed.

Long a pre-eminent figure on the American stage, Miss. Cornell has accorded initial opportunities in this country to several now successful actors, including Maurico Evans, Basil, Rathbone, and Brian Aherne.

After the conclusion of her play's present run in Boston, she and her company will visit Philadelphia, Washington, and Chicago.