A typical Winter Garden production arrived at the Boston Opera House on Monday night in the shape of a fantasy entitled "Cinderella on Broadway." It fulfilled all the customary qualifications of this species of annual entertainment, omitting none of the usual palliatives offered to the mind of the t, b, m., and faithfully keeping to the general standard set each year by Winter Garden shows.
Cinderella wanders in and out of the plot at will, but her presence is hardly necessary to the elaborate revue, which, after all, resembles chiefly a high-class vaudeville on a huge scale. A total of 22 scenes takes the spectator everywhere from the League of Nations Meeting at Versailles to a lavishly-decorated Top of the World, and each separate number is a pleasingly varied form of dance, song or humor. The Purcella brothers do some clever dance specialties, Vivien Oakland sings well, and John T. Murray keeps the audience in laughter during a short act of miscellaneous small talk entitled "Out Front." Marie Dressler is amusing as always, but the real comedian of the show is Al Brendel, who, as Yonson the Swede, is vastly entertaining. Every time he appeared on the stage, it was a signal for merriment on the part of the audience; one scene in particular, in which every article of apparel he wears falls apart in turn, brought loud applause. He and Flo Burt are ludicrously funny in the "Honeymoon Kitchen", as well.
Among the tunes, the most popular were "Hold Me" and Romantic Blues," sung by Miss Oakland, and "I'd Love to Fall Asleep and Wake Up in My Mammy's Arms," by Flo Burt. Of especial interest to Harvard men is the "Labor Agitator," introduced with fine effect in last year's Pudding show by F. M. Trainer '19, and here sung by John T. Murray.