Cercle Francais Charmed With "Sire"

One of the things that most charms the Anglo-Saxon, voyaging either in France or in French literature is the manner in which their types of character, tragic or droll, differ from ours. The great Revolution appeals to us not for its size but because of the dramatic quality of its executions and the fineness and intensity of the aristocrats thrown into relief by the unrestrained, but justly impassioned mob. The gayety of the modern Parisian is something so hard to define, so hard to put your hand on, that it is often a relief after our own boisterous humor.

"Sire," the play by Henri Lavedon, produced by the Cercle Francais yesterday afternoon, revolves around two French types, Roulette, who masquerades as Louis XVII and La Comtesse de Saint-Salbi, an old and emotional lady who always refused to believe that Louis XVII had died in prison and at once is taken in by Roulette's imposition.

Roulette is a very difficult part for an American to have attempted, and Mr. Edgar Scott does it admirably. His French is charming and he carries off the swagger,--although that is far too strong a word -- of the imposter, with perfect self confidence.

Miss Bird plays the aristocratic idealist who refuses to admit that the monarchy cannot be brought back with delicacy. When she finds that she is deceived by Roulette, her heart is broken, but she nevertheless sends him off to fight for her cause, and on hearing of his death, forgives him.

Miss Sprague, Mr. Bassett, and Mr. Buhler played their parts well, and Mr. Thayer was conscientious. The dramatic finale was good, the room of the fourth and fifth acts was attractive and the Cercle Francais may be proud of its play