Revival in Manhattan

Charley's Aunt (by Brandon Thomas, produced by Day Tuttle & Richard Skinner). One of the more notable howls of dramatic history rose in the '903--a farce written by an English actor who knew his trade. It still holds fourth place for consecutive performances (1,466 during its original London run), after Tobacco Road, Abie's Irish Rose, Chu-Chin-Chow. But it has been played oftener, all told, than any drama except Hamlet, was once presented simultaneously by 44 companies, has been translated into at least 20 languages, is the only play that has been rendered and acted in Esperanto. A great dramatic monument is Charley's Aunt.

In the face of these facts, it was unbecoming, last fortnight, for highbrowed Dramacritic Brooks Atkinson of the New York Times to declare that he "was only mildly amused" by Charley's Aunt revived. He was almost alone in his moderation. Most of the audience achieved an uproarious release. They roared at Lord Fancourt Babberley (Jose Ferrer, late of The Princeton Triangle Club), who for the umphundredth time agreed to help two fellow Oxonians out of sentimental dilemmas by impersonating the aunt of one of them. And they ogled three of the prettiest baggages (Mary Mason, Phyllis Avery, Katherine Wiman) exhibited this year on a Manhattan stage.

This file is automatically generated by a robot program, so reader's discretion is required.