The sun. [volume] (New York [N.Y.]) 1916-1920, 1919-09-10
MANY A GOOD LAUGH
IN 'NIGHTIE NIGHT
Klauber Makes Debut as Man.
ager Of Princess Theatre
With Farce.
ACTORS WELL SELECTED
Excellent Work of Francis
Byrne Wins Applause
Throughout Show.
ACTORS WELL SELECTED

Adolph Klauber made his belated
debut as a manager at the little Princess
Theatre last night with the production
Of a farce called 'Nightie Night" Mr..
Klauber has been for years what our
Gallo allies would call a man Of the
theatre, both as an actor and a critic
and as the aid and comfort of the at
tractive Jane Cowl, his wife, whose artis-
tic career he has so successfully directed.
The late Augustin DAILY was q dramatic
critic before he became an impresario,
and Mr.. Kauber should find the thought
encouraging. II he restores to his pro-
fession some of the artistic inspiration
and the cultivation of Mr.. Daily, his de-
parture into his new field may certainly
be called successful. OF course "Nightie
Night may not be the best means OF
exhibiting such qualifications for his
profession. but they cannot always be
concealed.
The little farce so appropriately
placed In the little auditorium is the
work Of Martha NJ Stanley and Adelaide
Mathews. There was a thrilling rumor
blowing through the Hobbies after the
first act that these two ladies were in
reality but pseudonyms for the two
other playwrights-the James, Cowl and
founded. 1t was probably due to the
recent heat or the overwrought nerves
Of the dramatic reporters.
The new piece, which Is of course
stuffed with Bilies and Jtntmies and
Triries to impart tho Indispensable
devil-may-care atmosphere to its three
acts. concerns the efforts Of an amiable
young man to get a showgirl out of a
scrape. BY keeping the news Of his
effort to himself the good Samaritan
eventually damages his own chances OF
domestic happiness in addition to mix
ing up some Of his other friends. But
It Is not in reality important what the
intrigue of a farce may be except to
those who see 1t. Describing the right
kind of farce used to be compared in
older and happier days to decanting
champagne. How much more depress-
ing must the process be now Did the
combination Of the usual elements make
for fun, that is all that really counts?
Last night these familiar ingredients
did most assuredly delight the audience.
Mendacity, mistaken identity, coinci-
dence--all these elements did combine
to produce in "Nightie Night" a most
laughable farce. Much of its fun was
violently physical and all of it was in
direct contradiction to all mental law
was always that saving grace whether
a lady was dragged cross the stage in
4 pair of pajamas or man slammed into
the wrong room. Often the most enter
tanning passages were the quiet ones
and this was in a no small degree due
to the acting of Francis Byrne. who
played his most extravagant scenes with
every appearance of the utmost gravity
and really could indicate with some
realism the poignant suffering through
which he was passing. Mr. Byrne's was
farcical acting of a high order. and at one
point the audience appreciated his I'M
common skill so thoroughly that the ac-
ton of the breathless piece was inter-
rupted that he might receive his de-
served applause.
Mr.. Klauber had shown high skill in
selecting his actors. Dorothy Mortimer
added fresh charm even to the role OF n
Jealous young Wife by her humor and
naivete. Then she was admirably
human and natural Suzanne Villa as
the unrepentant dancer. Ruby Craven
as the servant addicted to the cinema
and Marie Chambers as cosby sister
these completed an uncommonly clever
collection on the distaff side. Malcolm
Duncan and Grant Mills were comedians
who shared the honors after the lions
share had gone to Mr.. Byrne. The ac-
ton passed in an uncommonly lovely
and original example Of stage decora-
tion--a Venetian room in shades Of pale
green.