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The Ladder. In order to reconcile the hardships of life with his faith in a benevolent Deity, Playwright J. Frank Davis has evolved a quaint philosophy of reincarnation. After an intolerably unhappy 13th Century, a group of people squirm, reincarnated, into the 17th Century, from there into the 19th Century, from there into the 20th Century, where, at last, matters are so divinely ordered that the heroine can have both a career and a husband with a good job and the right personality. Such a philosophy of transmigration, in short, as might make the Buddha so far forget himself as to grind his teeth in Nirvana. The series of episodes, themselves, are intriguing one-act playlets, little snapshots through the ages, each sufficient unto itself, the sum total going to make up an unusually superficial outline of history. Antoinette Perry's rich voice frequently makes the wooden dialogue come to life. Hugh Buckler's virile characterizations also help.
Katja. The ordeal whereby for the sake of a nation, royalty submits to degrading incognito, is much met in Shubert operetta. In Katja, however, there is more than enough humor and music to relieve the redundancy of thought. Having already charmed the British, it brings to this civilization "Leander", a song that needs no comment because everyone will soon know it by heart; Doris Patston, a pert lass who captivates; Jack Sheehan, comedian, who exchanges an honest laugh for every minute of the audience's attention; Lilian Davies, prima donna, and Allan Prior, tenor, who can sing, act, and look handsome all at the same time. With its old fashioned harmonies and duets, Katja stands first in the lists of current operettas, a formidable champion to dispute the supremacy of Sir Jazz in the tournament of musical entertainments.
On Approval. Frederick Lonsdale's genius for smart repartee dialogue finds many a brilliant opportunity in a play with only four characters. Mrs. Wislack (Violet Kemble Cooper), widow, will experiment for one month with the temperament of mild Richard Halton (Wallace Eddinger) before risking another matrimonial venture. The Duke of Bristol (Hugh Wakefield) is more of an opportunist. He sets his suave cap for immediate acquisition of Helen Hayle (Kathlene MacDonell), heiress and best friend of the canny widow. After a skirmish of wits, with no insults barred, provided only that they be smooth-edged as befits Mrs. Wislack's Scottish mansion, the Duke and Heiress are left to their own dangerous company, while the less keen, more pleasant couple enter holy matrimony. The cast is the last word in sophisticated urbanity.
Wild Rose. Arthur Hammerstein's annual operetta floats along on Rudolf Friml's melodies to merited success. Wild Rose and One Little Kingdom, especially, belong at the top of the day's popular music. The play, of course, is laid in a, mythical kingdom, wherefore the princess fights the inevitable fight to reconcile love and duty, with the usual sad results; her U. S. lover acquits himself as he might be expected to before a U. S. audience. Thin comedy is compensated for by Desiree Ellinger, Joseph Santley, and sprightly dancers. But above all, there is the music.