Evening star., 1924-05-11
The Drama IN Maytime
Tunefulness.
By Ph,1ander Johnson.

"HE closing of the regular
season was signalized by glad
bursts of song. Pretty plays
with "gir1 titles" gambolcd through
incidents that recur from year to
year with the regularity OF the
crocuses and the Johnny-jump-ups.
Incidentally a few signals OF hope
were huttered for the encourage
ment OF the tired business man, who
has been led to fear that the
naughty attitude Of radio toward
mechanical rights for musical enter
prises may discourage melodious
genius so that the art lover will be
deprived of his daily abundance of
fox trots and blues.
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Both "Plain lane" and "Sallie,
Irene and Mary" gave sweet assur-
ance that there will be no need to
loiter on the golf links far into the
evening for lack OF opportunity to
dispcl the cares of the day by means
of graceful foot work to vivacious
rhythm. The two musical plays by
hitherto unheralded talent assure us
that even should the recognized
sources OF song that have stood the
test of years retire to opulent
dignity amid moody silence, there
will still be somewhat to inspire the
trap drummer and the saxophone.
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"Sallie, Irene and Mary" shows
the interpretive inclination of the
Broadway theater. 1t is all about
the crowded side streets and the
beautiful lights on Broadway. 1t is
reminiscent of palmy days, too, and
idealizes with the touch of senti-
mental recollection the old song
about "me and Mamie Rorke who
rripped the light fantastic on the
sidewalks of New York" The song,
when it first hit popularity, was re-
garded as rather rough and tumble
artistry, but its appeal was instantly
human. To this day the searcher
for New York sidewalk atmosphere
has found nothing to take its place.
50 serious an effort as Eugene
O'Neill's "Chillun Got Wings" is
forced to hark back to it in estab-
l.
may become an important duty of
playground associations to provide
new and more or less grammatical
ditties for the growing youngsters.
Proper discipline may demand it,
ior the juvenile opinion of ancestral
taste should be as high as possible.
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4 peculiar interest attaches to the
production, for it is an effort to
1Itilize material of local origin both
a to theme and execution. 1t re-
veals no London slavey nor Paris
model whose hearts of gold count
for a greater stake in the game of
lie than hereditary advantage. The
moor little girl is there; SO is the
scrappy but affectionate lad who
might have grown up to be Little
Tord Fauntleroy if he had had half a
chance. It'was not found necessary
40 import the types. In drawing a
dramatic contrast between poverty
and af1uence, it at least gave us a
study of indigenous indigency.
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The entire production is under the
nersonal direction of Mr.. J. ]. Shu-
bert, who is obviously on the right
track in seeking a basis of sub
stantiai interest. His Blossom
Time" showed this. To gid a homely
subject with fanciful appeal requires
s.eliczcy of imagination and a
nracticed pen. c. M. c. McClelland
was a master of this style of crafts
,nanship. as his Lady Slavey" and
.Belle of New York" proved to
entire popular satisfaction. Harry
q. Smith had less pungent hippancy
Init greater romantic adaptability,
aud was more prolific than precise.
q he authorship of both plain Jane"