N first season of new Arts Center Theater, in Brighton section of Boston, Cambridge Drama Festival -1:t9 f yq<1t, became a Shakespeare Festival by chance, not by design. When they were commissioned by Metropolitan Boston Arts Center, Inc., to produce three plays in State-built playhouse on Charles River bank, officers of Cambridge Drama Festival, Inc., were committed to no author, only to the best in drama. They had hoped to be able to open their summer program with an American work and had considered, only to discard as impracticable, Maxwell Anderson's Mary of Scotland, and Robert E. Sherwood's Abe Lincoln in Illinois. Because they did not receive their franchise until February and theater was due to open on July 9, and because they had nothing but plans and pledges to offer to actors and directors, they had to line up their season in haste and to make certain concessions. Siobhan McKenna and Sir John Gielgud were both friendly to Cambridge Drama Festival, she because she had originated her American production of Saint Joan for Festival at Sanders Theater, Cambridge, in i956, and Sir John because he had played his Ages of Man under same auspices, with marked success, last winter. As executive director of Cambridge Drama Festival, Inc., and as an admirer of both Miss McKenna and Sir John, William Morris Hunt approached them with open invitations: Would you like to act for us this summer? That both of them accepted is more than a little wonderful. For, at time, theater did not exist, and even partisans of project had some doubts that it could be completed in time. Under circumstances, Festival managers were bound to favor plays which their stars wanted to do. Both had Shakespeare in mind. Miss McKenna had been thinking about Macbeth for some time. Along with Jose Quintero, who wanted to stage it, she had discussed it with Jason Robards, Jr., who shared their belief that three of them might perhaps bring to a new Macbeth certain values which they believed to have been lost, or perhaps submerged, in some previous productions. They were interested, for example, in bringing into sharper focus the love story of Macbeth and his Lady. Although he was not able at once to free himself of other commitments, Mr. Robards managed to do so, and formally consented to star in Macbeth two months before opening of Festival. A little later, John Gielgud accepted an invitation to recreate in New York, his London production of Much Ado About Nothing.* Then he told officers of Cambridge Drama Festival he would be