Critical Moments

Although no producer’s name appeared on the program, the Victor Herbert revival of “The Only Girl,” which started a limited run at the Forty-fourth Street Theatre the other night, is evidently the work of J. J. Shubert because it was from his office that the publicity releases emanated and it is Mr. Shubert’s theatre. However, regardless who the producer is, “The Only Girl” is definitely “Vintage of 1914.”

These revivals are disturbing, especially to those of us who blissfully believe we are still the same young men and women we were twenty years ago when “The Only Girl” had its premiere in New York. But alas, we must realize that a new generation has grown up around us and that we no longer are amused or moved by the same things.

To the audience, which attended the performance the other night, the prevailing mood was one of indifference. The Victor Herbert tunes retained their beauty and such numbers as “When You’re Away” and “When Your Ankle Wears a Ball and Chain” are still worth humming, but as an operetta “The Only Girl” is dated. The lyrics sound mealy and the sentiment within them fails to strike a responsive cord.

The producers were not aware of the weakness, acquired by age, that had come to this work, and they tried to jazz things up a bit by injecting current slang expressions but instead of improving the production this only emphasized the inherent old-fashioned air that clings to the operetta.

WELL SUNG

It is not the fault of the cast that “The Only Girl” fails to emerge a success. Bettina Hall, as the composer, and Robert Halliday, as the librettist, who together try to write a musical comedy are both pleasant performers who sing and act with intelligence and feeling. Betzi Beaton, formerly of the Follies, was responsible the other night for what little enthusiasm was shown by the audience through her singing and comedy work. Billy Taylor, Richard Keene and Robert Emmett Keane were three other members of the cast who earned well deserved honors.

I am afraid “The Only Girl” has become just “The Old Girl,” about whom nobody cares.

OVERLOOKED HAPPENINGS FROM THE STAGE

For some reasons I missed the Walter Hampden engagements at the Brooklyn Academy of Music. It seems as though he avoided Broadway with a studied care. For the sake of the record let it be known that he played three days in Kings County and gave “Richelieu,” “Hamlet” and “Macbeth.”

“Furnished Rooms,” the play, has been delayed so many times that I am beginning to suspect the producers are trying to get that furniture on the time payment plan. It is now announced that the play will open at the Ritz Theatre on May 29.

Gilbert and Sullivan addicts will want to know that Frank Moulon will play Koko in “The Mikado,” which runs until Saturday night, when Mr. Chartrock will take his troupe on to Boston, thereby ending a stay in this city of eight weeks. It was a profitable venture for the young producer.