Variety (October 1925)

26 VARIETY LEGITIMATE Wednesday, October 14, 19S?i PLAYS ON BROADWAY WHEN YOU SMILE these chahmino people I CnriH ly i!i Itirti' :ii ts by Mii hid Ail^ii Musical romo.ly, Intlnialr tyjio, |>r>.liirr.,l I rroiluct-.! Dit. « by Cliarl.s H. UllUnitliam by JamcH I". H.ury of tlii< Walnur Stn-ot theatre, I'hllad.'lphlii. Jinuk liy Tom J.jlin- Wono ami Jack Allcnato. Mu^ic l>y Mr. Johnston, with lyrlist hy I'hll fook. Rook •tagt><1 by OKcitr Kajclc. Dances liy Hay- nii>nil Miiliflcy. At Nallonal, New York, Oct. 5 for run. Elaine I,e Mar NII.t M.irtan Kcnderson l{arol<l VlzanJ Michael Malone I'hi Ip T^rl John \V. Klnjr John Maurice .Sullivan Ann Wynne (libson "Larry" Patton Jack WhiiUnr Jack KInir John U. (lallautbt "VV'ally" Klnr Ray Ra>i>i(>iiil June WlllarJ '...Carol Joyce Jimmy Flynn Richard Saunilcns R. il. OffooU Thoma.1 MoKiiiKhi June Juno Juki Ice Imosene , Imoscne Coca . Florence , Kloronce ArlclKe Myrtle Mryllo 1^ Rny Dorothy Dorothy Humphreys liahf Babs <iri'K Woolly WooJy Ijfe Wilson MI IdreJ MI Idred ToUe Carol Carol Seldler Marjorlc , Marjoric lirook.s Betty ,•. Hetty Colct Edna Edna Pierce Margnrct Margnret Miller Wadsrtorth Orchestra: Leonard Nel.son, Jo- seph Uib>on, 8. Henry Wynn, Joseph Pe()e, James Simpson, Ralph Agosllnl. Ronald Ro.-», Walter Lltllewood, Fred Brann, Salvatoro Umiwe, KdwarJ Ed- wards, Frank Horscroft. SCENES Act I—irome of John W. Klngr, Los .\n- gelea. Alt n-Offlce "Movie News," Los An- Celea. Act III—.Scene 1—Same as act L Scone 2 —"The Extra." Scene 3—Same as Scene 1. nd .\. H. \Vo.i.l» at the Oulety, New Vork Cyril .Maude giarre.l. Directed by Wliictill Snillh, wllh wttlnifa by Jaracn Reyimlds. Minx Robert Vivian Jaint.H Herrldif Alfred Drayton Pamela Crawford Edna Best Capt. Miles Winter Geoffrey Millar Sir CJeorKc Crawfonl, .M. P Cyril .Maude Mrs. Herrldue (Julia) Alnui Toll (ieoffrey Alien Herbert M.'irsball An Old Walter Frank Ranncy HAY FEVER Comedy Id thre« *ct« by Noel Coward, pro<luoed at Mailne Elliott'* Oct. 5 by the Sbuberts; Laura Hope Crewa featured. Directed by autbor And MU« Crews. .'<.>rel Bll«« Frieda Intweourt Simon U1Ih« Gavin Mulr Clara Alice Belmore Cliffe Judith Bliss Laura Hope Crews DaMd BIM« Harry Davenport .Sandy Tyrell ..Reginald Sbetneld Mvra Aruivdel Phyllis Joyce Richard (Jreatbam Ueor«« Thorpe Ja.klo Coryton Marsut Leatcr Not a chance for the musical "When You Smile." Just dependent upon how long the cut rates can hold it In. And not being Mitstand- Ing In any one particular, the loca- tion of the National is also against It. Quite some faith evidently placed on its semi-dramatic plot. It has tlie publisher of a movie paper in love with a film star entered in his pa- per's popularity contest. Determined the girl shall win the contest, the publisher sees her lose it. But he marries her anyway. Maybe because he really did Jove her—or maybe to get rid of her. The latter appears to be the favored custom around Hollywood, according to the divorce recordfl. Very little baclied up the story, and especially In cast. Nor Is there music of the draw melodloua in the score. A few wise cracks, several smart observations and a neat sec- ond act finale, besides two extreme'v good numbers,'are about all you can get out of this for 13.30. In those two numbers Is a real little performer—Wynne Gibson — who easily roncps away with the performance. In one of the numbers is a dandy encore bit in a musical way. Properly placed in a good show it would have been sufficient to warrant wide talit. Miss Gibson and Jack Whiting ing "Oh, What a Girl," for several recalls. In one encore, whi'e they mutely express the chorus, the musicians interlude musical exclamations, an instrument or two at a time, fun and perfect for the pantomime. This number held up the per- formance, as did the same couple's other number In the second act, "Let's Kiss and Make Up." In this Miss Gibson literally swept the au- dience right Into her lap. Wynne Gibson, like the remainder of the cast other than Ray Raymond, seemed entirely unknown; but this show should advance Miss Gibson Into lino for prominence. She is a good-looklnp, animated brunet who Is of that enviable and rare conipo- sUlon. an lngenue-souhrt.t. Mr. Whit Ins Is a fair llRht comedian who should develop with opportuni- ties. One of the main faults her<? Is the Manifestation No. 2 of the Arlen vogue which seem.<» to be sweeping this land. HeRldes being an Arlen opus It serves as a starring vehicle for Cyril Maude, a mo.st gracious actor, whose attainments merit that he should not be bound down to such pother as Mike .has seen fit to load In these three acts. The funny thing about It all Is that as a play It Is distinctly z minus; as entertainment It falls Into tiie rut of so many other Kngljsh comedies of little or no worth; as a vehicle for Mr. laude it is undis- tinguished, and in its actual struc- ture it is an endless parade of silly epigrams smacking of humor which the "Smart Set" in its heyday would have disdained as being childish. Yet with all these disadvantages (and no sane person seeing the show and plunking down that $3.85 tap for an orchestra chair ($4.40 Sat- urdays) can deny that it holds every one enumerated) It is a sensational draw. Which meav<» nothing e'se than that Arlen is being literally worshipped by the so-calleU "smart" theatre^olng public. The plot concerns a frolicsome M. P. with one daughter married to a wealthy newspaper publisher. She leaves her husband to elope with one of his editors. Meantime the M. P.'s other daughter, a pert little flapper, gets herself a young man and be- comes engaged, and after this bit of business has helped out the second act, the third session finds the daughter returning to her husband and peace of mind returning to the parliamentarian's brain. A slender plot If ever there was on©. Trhe web of a spider holds a more Intricate structure. The bill of an ant is built with more skill. The mounds of gophers reach great- er heights. And the speeches made by soap-box orators are more Im- pressive than those made by the Arlen players. In the entire thre» acts of this preposterous affair there Is not a single atom of heart-Interest nor Is there ever a line uttered which bears the marks of anything else than flippancy. And when Arlen isn't being flippant h« Is following the prosaic phrases of those Engliab playwrights who first set down lines like these: '■• "Surely you don't know what you're saying." "I was never more serious in my life." "Suppose I should say I love yoru?" And so forth In this what chance has a fine actor? Maude, being the star, was no doubt allowed much latitude, and between himself and Winchell Smith, who staged the play, some ratlier good business has been given the star. What lines he has are fair, and he makt-s them much better. Aside from that, Mr. Maude Is not nearly so close to opportunities as in "Aren't We All," another English play beside which "These Charming I'eople ' i» a pigmy. Edna Best, a young Kngll.sh play- fr who Is said to draw down a n«?at Two young authors have each had t wo plays presented on Broadway recently. Michael Arlen's '"The Green Hat" and "These Charming People" vs. Noel Coward's "The Vortex" and 'Hay Fever." The edge In honors appears to be with Arlen, for while Coward's "The Vortex," In which he Is appearing. Is a hit, "Hay Fever" is a trifle In compari- son. Both of Arlen'a works are "In." "Hay Fever" is a light comedy. Its sponsors seented to have consid- erable difficulty In selecting a new title because of the then current "Spring Fever." When the latter attraotlon passed out the original English title was revived. The piece first went on tho boards in Brook- lyn, being known there as "Just Ourselves," which label is more de- scriptive than "Hay Fever." This Coward contribution la a play of bad manners. The actor- author is likely spoofing his fellow professionals for their notorious tendency to think of themselves flr.st and most all of the time. The locale is the English country home of tho Blisses, there being the father, an author; mother, a retired stage star; grown son and daugh- ter. Each has Invited a guest down for tho week-end. none caring a darn about the*others' visitors. The first act Is amusing, but the second goes into a steady decline until tho finale, which isn't as hila- rious as the players would have It. The last act contributes something In a comedy way, but not enough to place the show among the best sell- ers. Sorel, the daughter, paves the way In tho opening few minutes by tell- ing her brother the family la al- ways rude to guests and that she intends to reform. She doesn't, nor do they, as otherwise there would be no play. Some time after the guests arrive tea Is served. The four members of tho family calmly pro- ceed to sip, paying no attention to the guests, who stare at the Blisses in amazement. Tlijit provides a laughable first act curtain and is the funniest hit In "Hay Fever." For further comedy Intent each of the Blisses pairs oft with a gueat the other has Invited. There is some kissing and from the talk it would .seem each has found a new lover. Mother walks In on father kissing a vamp and declares she will gladly give him up. However, It is Just a temperament with the Bllssea. Mother starts spouting the lines of 'I melodrama In which she formerly appeared, son and daughter assum- ing other roles, father laughing an(' the guests dumbfounded, as during the tea Incident. In the lasfact the family gather around the breakfast table, the events of the night before being forgotten. While they vlo- '.ently argue over a point In pap.-i's new book the four guests steal from the house with their luggage. They have arrived at the conclusion that the BUs.ses arc nutty. Laura Hope Crews as Judith Bliss, the retired star, made an ex- cellent impression of tho egotistical mothor. The critics were rather hnrd 0.1 MIks Crews at a dress re- h^rariial to whi'.-b newspaper men »i<;re UiviU-A b«;x,auHe of the inrush ■jT n»rw plays last week. At 8ub.<!e CROOKED FRIDAY A play In a prttlog *n<) (hre« act* by Monrkton Hoffe, tbrouab arranf in*nt wllb Leon M. Lion. Starring Mary Ulynne and Dennis NellKon-Terry. Stajed by Dennis .Vsllson-Terry. At tho HIJou theatre. New fork, tJct. ». Presented by Iho Messrs. •ihuburt. In asaociatiou with U, A. Meyer. Prolog ' Alexander Tristan .Tolin It. TurnbuU Mii'ky Master Willlaiii Qulnn Oagley Wallace Wood Piny MUhiiel TrUtan Dennis Nellson-Terry lloward Lampeter Walter Walker rharles I.anU'eter Donald Foater Roiter Pctermore Richard Oordon Felix .*. BlUha Cooke. Jr Inspecti.r ...Joseph Burton Detective Jameson Harry Nelson Detoctlvo FerKUKon Joseph Sinaer A Servant Walter Pllngo Friday Mary Olynno .salary, is the flippant daughter, and she of the 8Up|K>rtlng cast really !'iu<'i4\ ptrrformances whatt-ver error shines. Khe is a neat-looking worn an. airy in her rn^tnnerie and b<-autl- fjl, although not as tx^utlful as cast. It's unbalanced, and the un- j »ome of tho«e r»:touch«.id ne'*spaper evenness runs through the entii-e 11'"'-'^'-'''"'''■■'''^ *'•'** "J" bclij'V?. Yet at production. Everything looks or<li nary excepting the few items men- tioned. That goes from settings to book to mui^lc to people. There is one glaring piece of miscasting. Not only tliat, but combined with It Is evidence of overcoachlng, with an especially mechanical performance by this person In any scene ap- proaching dramatics. The prini-lpals are^in tWtt-tiWlOi'" ^frlth Mr. llayinond and C;ir..l J,.j#" the other ."^(a of oiiposites. Mr. Ray- mond docs much better than might be suspected 'consiiicrlng his handi- cap. Mi.-:s Joyce Is a sweet, pr.tlv girl needing moro skillful dlrecilon and plenty of it than she apparently ha.s had. Harold Vizard docs a good ome.lv butler. A chorus of 12 is con'.on- tlonal. John P. Beury pushed this show over tho summer at the Walnut Street, Philadelphia, me.inwlillo making replacements. For ihi.s small musical there might have been a chance If the management had gone boldly after it. Which may l,c ex- plained by stating that out.side of Raymond it doesn't look .as if th'>r.' Is a .salary in the line-up. Beury brought In "I'll Say She Is" to Broadway and made it stand up at the Casino for a rnn. In that ho had the M.irx Bros. With the M.ir.\ Bros, you can cheat some. This is a show of the sort of "^>rry .^Terry," but of tho sort only for comparison. It Is so much th'it Hhtf'H (julto an attraction, and audience comment placed her next the stnr. Alma Tell Is the publl.sh- er's wife, and gives her usual per- formance. The others are the cua- tomary fill-ins of an English ca.st— typical. As has been said before, the play started off with a business bang. And there can be no question but tliat Arlen, by hI»"hobm)bbing wKta. and the dinner p;irty set of New York bi'twcni 6 and 10 o'clock, and then by his continuiini-c Into the sot.-t which Inhabit the more elegant night cluh<, Irm l)Uilt himself a per- sonal fi)llowing. A mail with consldemble personal mngnnti.xm, Arlen Is quite the lion- iz.'d ptison of the town. Thln^:." have recently conic to such .i pa.ss that he is almo.st beginning to be liiokcil on as an authority on fa.shlon in litcr:iturc .and lich.'ivior. One Fifth .avenue shop last week dls- plnyed a tie labeled as having the Arlcn approval. Jams and custard.'^ Topped up In Miss Crew.t' first per f'>rmance had disappeared. Harry Davenport was the father, a role of few sides compared to that '>{ Miss Crews. Frieda Inescourt and Gavin Mulr played the Impolite daughter and son. Phyllis Joyce was attractive as the vamp and AIl»3e Belmore Cllffe as the maid, one time dresser for Judith, was en- joyable with her cockney <yalect. In this same house "A Little Bit of Kliift" disappeared after a few weeks, though it created a lengthy run In London. Perhaps "Hay Koii-er'* jta_ a bit bCUej'» suited to t>i^ Algonquin ganir'TfT ■«»?'««!iWme]'Anierrc.Tn*t!l'!ltfr. but tine Impression "'" '■ ' ' "" is that It will not long hold the boards at the Elliott. Ibte. "When Tou Smile" Is like the n'oPT tho lines of the Thomnson- | forms—about C3-3S, with no gimr- Archcr output that there is ai-io a an Ice. Simc. .lazz orchestra here In the pit. It's F. Wheeler W.ia.sworlh'.s. with Mr. Wad.'worth leading, besides doini; a sax solo during intermission. In the two intermissions tlie orchestra re- peats tlio music of the piece with the i)lug ov theme song, "When You Smile." Thi.<? permits of solo.s, with the soloists standing up under tJic spot. no doubt will follow siiif, and by that time his triumph will be complete. As It now stands It seems his per- sonal Influence Is driving the stiff- shirt folks of the town to the Gaiety in drove.M. At a high top the man- agoiiicnt Is no doubt prosrcring. for the eight-person ca.'^t can't cusl so muf'h outsMo the Maude, Best and Tell salaries. This rush will no doubt continue for long eiiiiugh time to call "Theso Charming PcoiJc" one of tlie season's sucfesseM, T)ut ill the long run "The Green Hat' will outdistance and surely out of town will prove the greater favorite bv reason of its good love story wejl acted. And In both "These Charming People" and "The Green Hat " Arlen owes much to his casta. Without K'atherlne Cornell "The (^rcen lint " wouldn't he up to snuff, and without •Maude, Mlsa Best and the rest "Charming People" would he one of tlioso productions made to help the Rioiehouse basl.'^ess. Sitk. There Is little chanco that "The Crooked Friday" will be with us very long. It Is a light-walsted play that would make a falrl" good S.at- evepost Action story, but that is about all. There is no wallop to any portion of the piece, although It does serve the purpose of Introduc- ing a very personable actor in Den- nis Neilson-Terry to Americans. Co- starred with him is Mary Glynne. last seen here In "A Pair of Sllltr Stockings." She, however, falls to score in this piece, displaying very little personality and contributing a performance that is rather hard in a metallic manner. The piece is in three acts and a prolog. The latter takes olaco some 25 years prior to the piny proper, A youngster of 10, home from school on his holidays and driving in a car with his father, fljids a baby In a potato sack at tho roadside. His father believes the young child to be dead, but tho boy Insists that the babe Is alive and proves his con- tention. 'The child Is taken home by them and later when the boy has been packed off to school again the babe is placed in an asylum, but the youngster before leaving has tatooed the name "Friday" on the girl's arm. Then, 26 years later, the boy, now a man of 35, has made a tremendous fortune and has searched the world for the missing Friday. He comes to America, having obtained a clue from an American laper. He has been rather badly treated by women .vho are all after him for his money, so when he finally runs across Fri- day and has arranged for her to re- ceive a monthly Income of $2,000, he decides to pose as a penniless young man who la a waster and not adverse to being kept by a woman. He assumes this role In an effort to ascertain whether the girl really loves him or not. There are a number of complica- tions that are finally worked out, with the two loves clinched at the final curtain. ^ The three acts require but two sets, the first and final acts having the same set. The second act is a rather handsome Interior. Dennis Nellson-Terry, as the young Englishman seeking tho girl, handles his role exceedingly well. He and Miss Glynne head the Eng- lish portion of tho coippany, there also being about four Americans In the cast of 13. Donald Foster and Walter Walker, as father land son engaged in the practice of law, give satisfactory performances. Richard Gordon, in a role of a physician in love, with Friday, went up in his lines on several occasions. Other- wise his performance was one that stood out In tho company. One rather amusing touch was the fact that they had an out-and-out Englishman playing a New York City police Inspector, acceijt and all That was a laugh to the wise ones In front. "The Crooked Friday" isn't lonT for Broadway, although It may hold on for a short while with the aid of cut rates. Frrd, SrOlENFRlIlT I^nry JV. .S.ivds.'.-. Iniv, in ,i»>inel,ii|on with A. H. Woods, pr.senis Djrio .Nieeo- denil's three-a>t dramii, adapted by tllailyn IJnser and staifed by Hollo r.L.y |. Opened Oet. 7 at the Kltlnife, N. w YArk Xf,'"'*' .."'I'"'-'' Ann HardInK .Mil... Joulard Vlriflnla Farmer Bjillou. .. Marry H. r.Nfyrd The Principal....; Helen Htrl-klan.l tounl Phillpjie <1« VerdoiH Hollo I', ters r.'TT"'" ■ I.am-. lice KddlnK.r ■i"l''"'-it..;;k; ••;•■• • ■ •••■.*»»<«-lt. ll..mjlr..ii ^""",K;,- ;,•.• • V-ra Dunn Seh.f>l Chlldnn Doioihy MeCimn. Dot Willens. Francs .\rid.ts<iir. Ii.ilbis Uab- i-oek. .M.irian Kuimeoii. Constaue,; Lusliy Vera Lilim.inn. nesa and general eijoavinej,,- , times monotonous dreariness ..r .»' flrat act, with Its s-otty temp,, '• As a romance between .Mil,.' vfi, lals (the action is in a small pn/vl ' clal town in France) and- tho voun^ Count Philippe de Vetdol.s (h,,?,* Peters), the charm is adulieiated with the unpleasant first Impression that the oveiasBured yo^lll^- man at first Is boorishly dlscourtodiis In his attitude to tho girl at the ihsi moot. ing and frankly unchivalrous in making a proposal she rejects. Her haughtiness wakes him "to ti,» gallant that Is dormant within him and for the rest of the evening goes about discovering tho identity of the little girl tho unmarried mother deemed dead. Tho final curtain finds mother and young girl clasped in embrace with Philippe off the scene—a logical and poet coiulusloa but, according to audible audience vote, rather abrupt for popular pur- poses. Miss Harding (Woods' connection with this Savage production Is ex- plained through having her under contracts) Is at times inspired and of histrionic greatness; at times the tenseness of It all gets away from her, possibly a carping criticism considering it Is not particularly noticeable. The histrionic Score, In summary, is carried chiefly by her. The balance of the cast was par- ticularly high grade. Virginia Farm- er and Helen Strickland in ciiarac- ter parts clicked, as did Harry Beresford among the men. Felix Krembs was his usual effective, "heavy" as the betrayer of the 16- ' year-old girl. Peters manngod well also. The title Is fetching ancf may mean some thing at the gate. The mother- love theme and Miss Harding will count most for a moderate run as far as average dramas are con- cerned, but as a genuine dramatio smash It doesn't figure. AhcL CRAIG'S WIFE Rosalie Stewart presents a di-ama by Oeorge Kelly. Slaeed by tho author. Set- tings by bheldon K. VIelo. At the Moru^'ca tboatre. -Miss Austen Anne Sutherland Mrs. Harold Josephine Willfama .Mazie Marie (illdea Mrs. Craig Chrystal Heamd Rthel Laiidreth {Sieanor Mish Craijr Charles TrowbridtfO Mrs. Frazler Josephine Hull Billy tlirkmlrc ArlinK Alclne Joseph Catellc Arthur Shaw Harry J. A. Curtis Fredericks Nelan Jaap This i.H .-m in-bet\ve. IK V. a yes- and-iio iiroposition. with lieaucoup <(ualifyiiig con.sUlor;tlioii.s to be kept in mind, ;ind shapes U|» for .a tle- cisioii as being anybody's guess. It has a doublf-b.irreled appeal in the niotI)er-lo\e theriio wliir'h is paranioiinl and with it, Ih<ierore, a favorite for feminiiio p.-tfronage. It h.ts its tliroat-catrhiiig moments, .uid the femines, \\li,.ii viewed, were un.ishained in tlieir l.ars. The other • iplHal is Ann HardiiiK's iinpernoiia- tloii of .Marie .Mill.iis, who had her illegitimate baby taj^m fr„in lur elKht yeai-H befoi<'. ThrouKh that span had been blindly woisiiipidng .11 the .shrine of a vague and uiil- dentllleil grave of the tot sh-j tliinks may be hers. As tills not-so-\ otoran reporter Riinimarlzea tlioso details the temp- tation to vaellllate fioin the origin,tl negative impresslDH of this .-how -ns .1 box-ofdre prtiposltiim Is gre.it. To ofiVct all thi.s one rcalls the ta'ki- Bosalic Stewart produced and George Kelly wrote "The Torch Bearers" and "The Show-Off." For these two—the first a delicious CJtr- toon and the second a great comedy, they rate respect and recognition. There never was a better thliiK than "The Show-Oft" written or produced, yet Miss Stewart and Mr. Kelly seem to have an urge for "bet- ter things." So they put their heads together, and the result Is "Craig's Wife." \ it is too bad. We have here nothing like tho former Stewart-Kelly pleasurable commentaries on this existence, the frailty of mortals and the shortcom- ings of humankind. We havo in- stead a good, hard scolding for us who have grown old enough to un- dertake the cares and tribulations and vicissitudes of such elusive quantities as love and matiimony. Keduced to what they call in ge- ometry a "proposition," this play Is a debate between an extremely un- usual wife .and a particularly pecu- liar hu.sband, which might be titled: "Ite.solved, that tho woman must not bo allowed to steal the honio and the husband must blow out if ijhe does." The husband wins. There Is no point to tlie le.-soii; there is no motive to the play. It is the exposition of two tyjies such as would not run together once in a thousand times In life. It iH difficult to translate exactly what the author strives to illustrate. Tills much is plain, however: he in- tends to convey that if a woman Is selfish, runs the house nietieulously accenling to her own ideas, bosses her husband, shrews and sliriils, she will either win out or, if soinetlilng comes along that niaUes ;i m in of lur husband, she will he left Hat. Something does come iIoiik; that i.s. It is talked about. And liie hus- band dries leave his wife. It all «ou!d bo more acceptable 'fj'' . weren't .a mediocre actor" leitvnW"* probably one of the grcate.'ii .irti'^l" .i who has ri^ig the echoes »t the American stage In decades fbr.\stal Heanie. A hian wilh an.\ niaiilioe'I ai iill woul.lii't leave her mi>l< i' n'-S circumstances. Miss lleariie, playing mie of ilie most unsyjjip^i'helic, lntiic:ite and Inhuman roles that ever a iiiclly fein.ile gave to the annals of st.iuc jirnjeclion, is a fiatnlng, f,i.';.'iiiatim.' fireiiiMnd of feminine cliaraclci'. emotionalism and teniperainenl. Even L.idy Macbeth was scarcely less lovaljle; yet .Miss lleariie •« magnUicent, glorious In ihe liaril- boiled liarl of -Mrs. Craig, :i woman without a shred of «t iilliuenl. lion-- esly or woni.inbood, yet wlio d.iesti t do anything that isn't (b)nc every ''■'y- , ,1, Th.if sounds like some; nne,^ \^ ae " would spell universal a|)|)eal. Vet it doesn't. Possibly it ni;glii if fliar c« Trowbridge could step wilb •^"^'^ . llearne. As It Is, vvlien li^ Icav.-' lier, and the author makes liim he- roic because of It. one wonders b"" she ever stood him as lenvs ,' (Continued on pa^'e :"'> <*,i