"Princess Chrysanthemum," given the Embassy Theatre under the avspicon of the BAA, Mus-feal Section is an exceptionally pretty and daintily-staged operetta, with several charming lytics inter-sparsed among the scenes and a chorus of children's voices that was, fresh and delightfully sweet in sound and, besides, most creditable in volume. All the flowered kimonos painted fans and parasols harmonise ed well with the effective stage Aecoration and one's chief impression was that of coloured harmony) in the ensembles.
Miss Sharp's pupils gave some attractive dances, notably "Butterflies" for which Mrs. Gay Cumit herself made the costumes, a smart, little dance done by the small demons in Act 2, showing marked Russian influence, and a "parasol dance towards the end. Mrs. MIN.
W. Pett and Mrs. Gay Cuming were ible for the thoughtful ling of colours in the costumes Lyle and Mrs, Beesley pro-
Among individual performers: deserving of especial mention we note the following: Joy Pett, Jean Kale, Moira Turner, and Noel Hammond.
Joy Pett as Chrysanthemum sang well hut has acquired the manner-m of continually shaking her head while singing or talking, Jean Kale was responsible for a delightfully lear, melodious and naturally sung' little lullaby: her voice gives promise of much charm and sweetness.
Moira Turner also has much improved: she interpreted her part with an excellent dramatic senso and sang very clearly and well. Her enunciation is exceptionally good and her Fairy Moonbeam was altogether a most attractive characterization, Noel Hammond as Top Knot also sang well and spoke clearly, doing his full share towards the success of the whole.
Norman Palmer as The Emperor spoke up well and had a most effective make-up: Frank Moysey as
Text read from the printed page and cleaned; old type leaves the occasional error.