The Squall was then produced for Broadway by A. L. Jones and Morris Green, with new staging by Lionel Atwill, settings by William Castle, special effects by Langdon McCormick, and again starring Blanche Yurka.

She is striking looking, with curly black hair and large gold hoop earrings, which seem to bedazzle Juan Mendez, and Pedro the hired hand.

Jones and Green, who as The Bohemians (Inc.) had produced The Greenwich Village Follies since 1919,[4] were able to get Howard Lindsay to add The Squall to the summer schedule for the Lakewood Players during August 1926.

[12] Supplementing the regular stock company were guest stars Blanche Yurka, Pedro de Cordoba, Hortense Alden, and Murray Alper.

[4] The regular company included Arthur Byron, Dorothy Stickney, Nedda Harrigan, Albert Hackett, Walter Connolly, Katheryn Keyes, and Cornelius Van Voorhies.

[5] The producers hired Lionel Atwill to direct the Broadway production of The Squall,[13] and signed new cast members Suzanne Caubet, Harold Barham, Lee Baker, and Mary Fowler.

Ray W. Harper noted the storm effect created by Langdon McCormick, and said "This hectic drama of sex, love, and passion in Spain had many fine moments and then again some tiresome stretches".

[18] Rowland Field was less cynical, calling the play "absorbing" and praising the performances of Blanche Yurka and Suzanne "Caubert" [sic], while reporting the enthusiastic audience's "prolonged and genuine" applause.

He praised the performances, Langdon McCormick's storm and Lionel Atwill's direction, and concluded by suggesting of the author's first play: "She has no reason to be ashamed of it.

He felt the outrageous speech[fn 4] and actions of Nubi distracted from the fine performance of Blanche Yurka, "who deserves a play commensurate with her ability."

[25] The play received renewed national attention during late July 1927, when well-known screenwriter June Mathis died during the performance she was viewing.