WHY will dramatic critics persist in treating the " book
" or " plot " of a musical play as if it had any real importance? It can only be their insensibility to music, dancing, personality and visual effects that causes this obstinate misdirection of their attention. Irene is a case in point. If! were to write of the inconsequence and ineffable nullity of the story which serves to connect the seven scenes of Irene I should be doing the entertainment a great injustice, for the fact is that as an entertainment it is excellent and a great deal better and more enjoyable than many popular musical plays. And for these reasons: I would put first the music which, though not strikingly original, is not insipid but has style, distinction' and is so very well played by the orchestra under Mr. Bretherton that it is a source of constant enjoyment throughout the evening. Now, this is no small matter, for both the music and the playing of it, in many musical pieces, is so contemptible that it spoils all one's pleasure in the rest of the show. Secondly, Arthur Riscoe gives a highly finished comic performance as Mdme. Lucy. Then Pat Taylor brings a semblance of reality to the part of Irene O'Dare ; and, thirdly, in Doreen Percheron, the management has found, in my opinion, a potential new star. This young lady has a vivid per- sonality, great charm and vivacity and a really beautiful style. Everything she does, every movement she makes, has a rare, personal quality and individuality. If an adequate part can be found for her she will make a sensational success. As it is, the best things in Irene are the trios in which she, Arthur Riscoe and Doreen Duke
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