The Columbus Dispatch

ALL ARE PLEASED WITH "TOYMAKER"
Parts Are All Admirably Taken By Players Of Marked Ability.

One of the most unique plays ever put on by the students of M. S. C. W. was presented to the public Friday night when the Juniors gave their annual play, "The Toymaker." The play, by Austin Strong, deals with the fortunes of an old Dutch Toymaker, his wife, and the love between David, their youngest son, and Hesta, the daughter of a rich merchant. The American children are tired of dolls; they want Teddy-bears instead; troubles are many, but Adolph, the son who went to America many years before, comes back "magnificently, rollingly, rich," and all ends very happily.

Quaint and imposing posters and placards on the campus and about the town had given the public tantalizing glimpses of placid wind-mills and complacent Hollanders gossiping along quiet canals, but despite this preparation, the first scene caused the audience to gasp in delighted surprise. Katharine Glover and Kate Denham, guarding the dykes, were picturesque figures in the little booth. Light hearted burghers trooped by, singing, and crowds of children loitered on their way along the street. Julia O'Neal, as the street-cleaner, and Eugenia Eckford as the Lamplighter, were two dignified Juniors whom we would have never recognised, so perfect was their make-up and acting. And came David, the Toymaker's son, with his violin, and his little friend, Paul, to tell Hesta of his love. Claire Bradley, as David, made a strikingly handsome boy and a most charming lover. We are glad that he inherits much of the Toymaker's disposition and feeling towards life. This was Claire's first appearance behind the footlights, but she played so naturally and so joyously that we shall certainly hope to see her again. Virginia Pringle, as Paul, was a delightfully unexpected little Dutch boy. Virginia has never essayed a masculine or child role before, but she did both wonderfully well, and nothing could have been so audacious, so "little-boyish" as this alert little red-headed Dutchman.

Will Nelson DeLoach, as the whimsical, lovable, absentminded old Toymaker, with his child-like belief in the soul of his dolls, his love for Nebuchadnezzar, the dog who would "scare off burglars, and round up cattle," his humble apology to the hated Teddybear, his too-generous gifts to the little children who loved him, achieved enviable dramatic heights. Nobody but Will Nelson could have given the part such a quaint, wistful appeal. Will Nelson has a long list of triumphs behind her, but we believe that for sheer beauty and irreproachable characterization, the unselfish and child like spirit of the old Toymaker will live for a long, long time in the hearts of all the grown-up children who saw this performance.

Is there no limit to Emily Massengale's versatility and dramatic ability? We saw and admired the haughty Emily in "Come out of the Kitchen," the unexpected Emily in "Miss Hobbs," the incomparable Judy Abbott in "Daddy Long-Legs," but Emily, the shy, quaint little Dutch girl who threw roses over the grey wall of the old garden to the Toymaker's son lurking outside with his violin-this is the Emily most of us will like best. She might have been one of the beautiful dolls in the old Toymaker's shop that had come to life. Lavinia Minyard, as the wife of the Toymaker, delighted the audience with the pleading manner in which she requested her Abraham to be "more wise," and be "A little more selfish," And at the end, when the Toymaker was leaving the old home, and the workshop and the wonderful toys were going out of his life, many tears were surreptitiously shed at the love and devotion between the old couple. She played the part with a fine sympathetic, emotional understanding that completely won the audience.

Louise Eskridge, as Adolph, the son who went to America and became the "Teddy-bear King," is another newcomer who charmed us with her somewhat tender and convincing portrayal of the rich "American," and caused much laughter when she insisted that she was not only plain rich, but American-rich, gorgeously rich, magnificently, rollingly rich. Lola Crawley, as the Sergeant who gave up his medals to help out the eg in love, glorified her part by the many clever little touches and gestures that masked the heart of gold under her bluff exterior. And Mildred Davis as the poet! Mildred has undoubtedly demonstrated the fact that she can play anything from "Jelly-bean" to a poet, and what more can you ask? Susie Bridges, as the father of Hesta, made an excellent one, tho we feel that she should not have been so cruel to the two lovers. Margaret Ann Wright, the Clerk, Frances Davis, as the Cook, Nan Griffis, as the Driver, Elizabeth Hairston as the Coachman, were splendidly done, and this contributed much amusement to the audience.

And let us not forget our petit but very efficient stage-manager, Marguerite Grant, and Corrine Little, whose enthusiasm and whole-hearted interest urged the cast of 23 to be their very best, and Miss Whipple, and Mr. Painter, without whom there could be no play.-From The Spectator.