Critical Moments

Pauline Frederick, a name familiar to theatregoers for the past few decades but who has been away from the footlights for some time, returned to Broadway the other night when she opened at the Ritz Theatre in a comedy by John Charles Brownell called “Her Majesty, The Widow.” Miss Frederick not only played the leading role but directed the production as well. A first night audience enjoyed her efforts but I, for one, do not concur in the general enthusiasm for this slight, mildly amusing farce that was brought in from the Pacific Coast, where it is said to have earned high praise.

ROUTINE HUMOR

“Her Majesty, The Widow” suffers from routine humor, or I might say that given the first line of an alleged “crack,” you can then stuff up your ears because you know what the answer will be. Mr. Brownell did not unduly bestir himself in composing his dialogue or situations. He was obvious and often trite. As a plot he rehashed the very ancient device of the widowed lady with a grown son, who twenty years ago was in love with a musician and has not seen him since her romantic days. Through the years she has nurtured the idea that he will return to her and she spends her time preparing for this “comeback.”

Miss Frederick, of course, is the widow, a Mrs. Seymour, but before her now old lover returns a “vamp” makes passes at her son, who is engaged to what is thought to be a “sweet young thing.” Mrs. Seymour conceives the not too brilliant idea of bring scheming damsel, fiance and musician together by inviting them to spend a week-end at her palatial home. Naturally this gives the playwright his chance and the ensuing complications are calculated to keep the audience roaring. As things turn out, it is discovered that the siren has at one time sued the widow’s lover for breach of promise, and to make things thoroughly confusing, even the fiance of the widow’s son has been mixed up with the violinist (I forgot to mention that our musician was a violinist of world renown) but as life is portrayed in light comedies things have a way of righting themselves. Before the final curtain rolls to the boards practically everything transpires in a satisfactory manner.

Comedy honors are divided between Frederick Bell as the comic lover and the inevitable cook played by Grayce Hampton. Miss Frederick was surprisingly uninterested in the leading role. She was, you might say, “standoffish” and unwilling to join the merry proceedings. You receive the impression that the whole affair was distasteful to her. The rest of the cast seemed quite willing to accept the business as a lark and they were, to use a word that is beginning to haunt me, adequate.

OPERA ON SATURDAY

At the Hippodrome, where popular-priced opera has been going on nightly for the past few months, activities have been halted until Saturday. The management has decided to reorganize the company for the summer season. There will be a lower scale of prices and a more varied repertory.