THE CRIMSON PLAYGOER

The Copley Company has opened its season with "Tonight Or Never", a play by Lili Hatvany, which stood the acid test of Broadway for many months. It needs only half an eye to discover the causes for whatever success has accrued to the play. The Boston presentation is characterized by imaginative and intelligent treatment at the hands of both director and cast, every opportunity that the script offered for straight drama and light comedy being seized and exploited.

The story relates the plight of a continental diva who in persuing her career has neglected to find time for those elements of romance which seem to be conducive to full artistic expression. Driven to desperation by the indifference of a paternal, middle-aged fiance, the comely vocalist throws her cap over the windmill, seeking solace in the arms of an unknown admirer, who is at first disillusioned by the young lady's forwardness, but cannot help revealing his love and the fact that he is an American impresario with a contract for the singer.

The brunt of the entertainment is borne by Miss Gahagan, of whom it may be said that not once does she allow the attention of the audience to wander. "Tonight Or Never" is a play which depends in a large measure on the personality of the prima donna for its effect. The portrayal of Miss Gahagan is a composite of spasms of temperament, periods of remorseful affection, and evidences of a pampered, irresponsible existence. In brief, a reflection of the popular conception of operatic stars. One of the most pleasing phases of the entertainment is the manner in which the star renders the songs which are requisite for the creation of the musical atmosphere. Second in merit stands Francis Compton who depicted with vigor the role of the fatuous finance.