New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1910-02-28
THE LONDON STAGE
Thoughtless Farce We'll En-
acted.

London February 10.
What Is marketable Is not always the
best product. When an artist makes q
reputation for painting on certain lines
or for treating subjects Of definite
class he is forced to repeat himself.
Otherwise his pictures will not be con-
sidered characteristic work and dealers
will find it difficult to dispose of them
Yet the limitations imposed by market
able conditions are likely to prevent the
development of a broader style and a
ripper art. So is 1t also with the art OF
acting The best work Of which the
artist may be capable is not infrequene-
1y the least popular. Mr.. Cyril Mauoe
is one Of the most delightful eccentric
comedians of the time, yet, like Mr.
Charles Hawtrey. he is seldom seen at
his best, because the public Insists upon
his appearance in amusing ana lnane
farces. This unfortunate preference on
the part OF playgoers for an inferior
class of work Influences his choice of
plays and obstructs the development Of
his brilliant talents in genuine imper-
sonations of character under the inspira-
ton OF the pure comic spirit
The play produced last night at the
Playhouse has been specially designed
by the joint authors, NJ Paul Gavault
and Mr.. Michael Morton, for Mr. Maude
as whimsical figure in light and mlrth-
some farce of no marked originality or
humor In '"Tantalizing Tommy he en-
acts the part Of a commonplace, shy,
awkward and irascible government
clerk. 1t is a traditional stage type or
the Victorian period, which is not to be
found in the Civil Service OF the day.
The modern official may live in the sub
urbs and be deferential in his manner
when superiorS are with him, but ne
belongs to clubs, has the air of well
informed man Of the world, cultlvat2s
the acquaintance Of artists and writer's
and is incapable Of acting like fright
ened and demoralized loon. The Colonial
Office clerk in the play Is silly, good
Datured dolt without presence Of mind
or dignity of manner, who would not
know his way around whitehall nor be
tolerated in any public office. He has
carried off a portrait painter, harry
KilIick, to his cottage in the country,
where they play cards with a Hght-
headed cook-chambernaid and find It
difficult to get into their bedrooms after
a prolonged discussion Of an unexpected
emergency announced by post-the ar
rival in the morning of the clerks CHIEF
at the Colonial Office and prospective
father-in-law. with the charming girl
herself.
<-a IIeyf7r hnn MT
and the bedroom doors on the upper
stairway closed before there is break
down of a motor car outside the cot
tage, followed by the entrance Of be-
wildered chauffeur and hoyden, Tommy
the spoiled and headstrong daughter OF
a millionaire tea merchant. This is an
other stage type of the Victorian period
of anecdotes in paint and puppets in
theatres-the wayward cnilG of nature
undiscipIined at home and with unre-
fecting scorn Of social conventions, who
can only be conquered anC tanned by In
difference and hostility. Miss Marie
L0hr is not suited to the part, either
temperamental1y or by pT5.:!c;;s gtage
work; but she displays clever ness in
adapting herself TO an uncongeniai mas
querade and acts with grace and charm.
The cook chambermaid energies first
from her retirement, and more deliberate
w the government clerk and the artist,
each in transition stages of pa jaTnas and
dressing gowns, descend the staircase;
and after unsuccessful attempts to re-
pair the motor car Tommy invites her
self TO stay all night. There is prolonged
fooling, ending with the secret departure
of chauffeur and cook-chambermaid
cross country to the railway station.
the retirement of Tommy to the clerks
room and the dependency of the host
who settles himself in an uncomfortable
chair for nights sleep. final touch
is the appearance Of the visitor in
naisrnas at her bedroom door.
OnIy one Of the four acts has passed.
In the second there is no cook to pre-
pare the breakfast, and Tommy volun-
teers for the vacancy and is assisted by
the artist, who has fallen in love with
her. The Colonial chief, arriving with
| his daughter, finds the strange lady in
possession of the cottage and breaks off
the engagement between his daughter
and the clerk The cook returns on a
bicycle and Tommy's father arrives with
the chauffeur to take her home, and the
clerk. who has been beside himself with
Indignation over the various misunder-
standings and perpIexities, let's himself
60 in most comical explosion of wrath
against his unweIcome visitors. In the
third act there Is a little red tape in the
Colonial Office, where the clerk, being
sternly ordered by his chief to copy an
official document, sends for luncheon and
q brandy and soda and receives a call
from the artist, who has ascertained that
Tommy does not care for him. The
hovden herself appears in Downing
Street in time to join the discounted
clerk at his luncheon and TO discover her
photograph in his blotter, where 1t has
been placed by the misChievous artist.
The transparent complications are con-
tinued in Kiliick's studio, where the ar
fist receives handsome pay for por-
trait of the tea merchant, and where
Tommy plays hide and seek with her
TWO admirers until at last she filings
herself into the arms of the bashfui
clerk who has attracted and fascinated
her by frankly disliking her.