Undoubtedly, the Wachsner directorate enjoyed the over crowded house much more than we did its "Trumpeter." We are inclined to wish him the sordid fate of the Katzbachian Trumpet player who drifted on a cake of ice toward the ocean, and presumably perished there. The "Staff Trumpeter" blew the signal, "temptation," and everyone hurried to the theater, heeding the call. Hence, the house was crowded and hot to the point of suffocation. Leon Wachsner proved to us that he is still a good comedian. Of course, the mind wanders occasionally after it has been "unharnessed" for a while, and, when Mr. Wachsner confused a salon with a saloon, pronouncing the former with a double "o," we can forgive him! One just had an irresistible yearning to inquire: "What are you going to take, boys?"

The "Staff Trumpeter" is a farce of long, long ago, and has outlived its creator. But it is acceptable, and even today it is suitable as a convenient stop gap. Rather moss-covered and, therefore, immune to criticism. In common with most of the by-gone farces, it lacks a definite plot, and thus we cannot speak of its action. This restricts us to consider only a lot of crazy Berliners, baptized in genuine Spree water. But to write about them is an art in itself, that nonsense must be seen to be appreciated. Upstarts, who break into better social circles because they "can afford it," are always a source of merriment. And so Mannstaedt wrote a satire on the "Newly rich," to the well established tune of "Cobbler stick to your Lasts!" But in this case It happens to be the candy vender, Mampe, later, with the French inflection on the last syllable, and his refinement acquiring associates who finally realize the incongruous situation, and return to the sphere of action which an inexorable nature had decreed. Akin to the tame 3Tales of Hoffmann, the farce ends with the usual "kiss and make up!"

The performance was a very acceptable one, not faultless, nor particularly smooth, but just as we said, acceptable. Mr. Wachsner, as Wampe," [elsewhere printed as 'Wampe'] had brilliant moments where his dormant talent and routine reasserted themselves most powerfully, especially in the third and last act, where he struck the proper, convincing tone of the affable old man with the golden heart.

Miss Elise Kramm's indisposition was not regrettable in as much as a truly commendable eleventh hour substitute was found in Miss Paula Wirth, who functioned as "Eva." She must be endowed with a faultless memory, otherwise, she never could have produced such a fascinating, faultless performance with only one hurried rehearsal. She never looked better or appeared to greater advantage, nor has her acting 4struck a more responsive chord than in that sympathetic part last night. The stunning costumes, the virtual living of the character, and finally that true French accent, in toto: Paula Wirth instantly became the public favorite, and towered mightily above the others. The inevitable applause was spontaneous, and an exquisite bouquet of roses added further glory to her accomplishment.

Miss Else Remy played "Dorchen," mastering the lyrical and vocal part in every detail. Her voice is not powerful, but it is flexible and appealing.

Miss Else Haerting, as "Amalie," was in the proper place. The title roles could not have been more suitably distributed. Ludwig Kreiss, as "Moritz," gave a good presentation of the good natured, yet staunch Hussar, a splendid figure in the glove-fitting uniform. Heinz Gordon's 5"Wuppe" was splendid; his topical song, highly effective. The members of the "District club deserve unrestricted encomiums; the Misses Gerlach and Richard, as "Mrs. Schulze" and "Mrs. Lehmann," respectively, were a "scream." The other figures were very well placed.

The orchestra (Ernst Karl) and Donat's stage management in the broad sense, since Regisseur's duties entail greater responsibilities than those of an American stage manner, deserve praise.