Miss MARIE LÖHR was the life and soul of the party. Her true comedy manner, when she was serious, was always fascinating. She said with great discretion her little Barriesque piece about the desirability of babies, and she did all she knew to keep the sentiment from being too sickly-sweet. Here she had strong assistance from Mr. EADIE as her lover _Tony_; for, though he got a fine flash out of the green eye of jealousy when he suspected his patron, _Jules_, of jumping his love-claim, it was obvious at the end that the success of his professional ambitions was far more to him than any affair of the heart. And, after all, when _Remnant_ complained of a curious _bourdonnement_ in her ears, and _Tony_ had to reply solemnly, "That which you hear is the beating of your heart to the music of your soul," you could hardly expect a man with Mr. EADIE'S sense of humour to throw much conviction into the statement.
Mr. C.M. LOWNE was a very passable _beau_, and made love to _Remnant_ with that rich fruitiness of voice of which he is a past master. It was her business (as she explained to _Tony_ when he surprised their two faces within kissing distance of each other) to keep _Jules_ in good humour since _Tony's_ chances depended upon his patronage. But it couldn't have helped much to tell _Jules_ with such appalling candour that the shiver produced by his kiss was the same kind as she had once felt when a rat ran over her face during sleep. However, _Jules_ was not a _beau_ for nothing and could afford this exceptional set-back to one of his many amours. There was, by the way, an excellent little comedy scene between him and his wife, played by Miss MURIEL POPE with a quiet humour as piquant as her gown.
As _Manon_, the querulous termagant that _Tony_ had taken for mistress, Miss HILDA MOORE was not very kindly served by her part--so rudimentary that its highest flight was achieved when, with a Parthian shot, she referred to _Tony_ as a geni-ass.
I will not forecast a limited success for this play, for who would dare to say that there is not always room in the broad British bosom for yet another triumph of sentiment over ideas--I speak of the play itself and not of the performance? If only for Miss LÖHR'S sake I could wish that the best of fortune may attend it; for to have worn her hair as she did in the Second Act, out of regard for the period, was a sacrifice as fine as any that women have shown in the course of Armageddon (if I may judge of them by their portraits in the Photographic Press), and she ought to have her reward, bless her heart! O.S.