The times., 1899-11-28
CoIumbia-.Dear old Charley

H..
Ellen Farewell. Florence Turner
The foremost writer OF American drama
and comedy is responsible for the state
ment that but two foundations exist upeu
which may be erected a farcicai structure
These two are mistaken identity and cross
purposes The authority IS no less a per
sonage than William Gillette Yet last
night at the Columbia a good-natured and
friendly disposed audience witnessed the
performance of a farce built. and fairly
well built without the aid Of either OF the
supposed essentiaIs-also without that
third apparent necessity. filth. Dear Old
Charley" the work in question. is not a
really good piece in the ordinary sense.
but il is a clean and otherwise most IN
usual effort, in consequence Of which fact
its author certainly deserves infinite
credit
The story of Charles Brookfield's three
act offering is exceedingly simple. Charles
Ingleton in his time has been a bit Of a
"rounder," and the wives Of pair Of in
innate friends have been included in his
list of inamOTatas. This Don Juan marries
sweet, confiding girl. who tells him that
had his life been anything but pure and
innocent she never would have welded
him. Then the friends aforesaid develop
and prove veritable thorns in the side Of
tllt uuuStLo4Ns tLElT EUHDi4EQ GDlNEESd-
tiOns and exhibited notes convincing the
spouse that her husband was not a wing
less cherubim after all Finally the trou-
Bile brewers are defeated and dear old
Charley" is left alone in marital peace and
comfort
This partially -diverting tale IS told in
manner not entirely bright. Had a play
wright Of more experience peTned its lines.
the labors of the presenting cast would have
been much Iightened. Yet the vehicles
lack OF complexity and foTmality commsnds
it to the weary thestregoer whose head
aches with French phrases and Partisan in
fdaliJies. A couple OF pleasing specialties,
introduced quite adroitIy are sufficient to
relieve the monotony which otherwise
would eusue. The first is contributed by
John Hyams. and is extraordinary in moth
ing except the veterauship Of the song rem
dered. TIE friends of Bertha WaItzinger
remembered her for her clever work in
support Of JEFF De Angels last season, and
welcomed her right heartily. Associated
with Miss WaltziEger in her vocal attempt
is Florence Turner, who does NOT look an
artist and evidently isn't one. But when
George Ober and George BOniface join with
the twain in fortunately brief cakewaIk
one forgives faults and applauds the lucky
finale.
III DOHALdGt- III Lut tituidI IolB, II very
What Happened -tO-Jones' like. But this
is little argument against the merit OF his
creation, for his Jones was the cieverest
portrayal imaginable George ObeF is also
good and would be better il he chose to
eXaggerate a few pieces of old but excellent
business. 4 keen character study. closely
resembling Uriah Heap, is the Thomas
Dumphie of Stephen Maley whose facial
expressions are more than admirable.
Kathryn Osterman furnishes the best i'm
personation she has shown since her debut
in Hands Across the Sea, while Alfred
Burnham and Helen Harcourt are just the
customary meddling mother and father-in-
law. The performance is suappy and never
drags. although much of the apparent
sparkle is due to the east and not to the
play.
Summing up. then, Dear Old Charley is
a clean. informal and unconventional farce,
presented by o company Of exceptional
merit The theme is simple and might have
been handled with much better effect.
Matinees Thanksgiving and Saturday.