bumper audience in the Prince Edward last night by the Kelly’s Cross Dramatic Club, and staged under the auspices of the Catholic Women’s League.

If the applause of the audience was any criterion of the play, there was nothing lacking in “An Arizona Cowboy”, for the handclapping that rewarded the efforts of the performers was most generous in measure, and no opportunity was lost to show appreciation of a particular good piece of acting. Not only was the acting in the drama especially good for amateur and practically inexperienced performers, but the specialties be- tween the acts were also “chock full” of high class entertainment, and fiddlers and stepdancers were heard and seen, who would have given a good account of themselves at the recent fiddling and dancing contests.

As the story of “An Arizona Cowboy” contains very little of any kind of plot, the play depends a good deal for its interest on the acting of the cast. This in itself says quite sufficient for the histrionic ability of the actors who go to make up the Kelly’s Cross Dramatic Club, for not for a minute did the action of the performance lag or lose interest.

The title role of the play was very capably filled by Joseph Kelly, as the Cowboy Sheriff, who is responsible for the maintenance of law and order in the Western Town of Purple Dog, and who. incidentally is in love with Marguerite Moore, a pretty ranch owner, played very capably and convincingly by Miss Helena Monaghan. Leslie Trainer, as the somewhat irresponsible and reckless partner of the sheriff, was also very clever and realistic in his acting. The villians 0f the piece were played by Frank J. Flood and Emmett German, who both gave good (or rather bad) accounts of themselves. Beth characters were well sustained and quite true to life. Particularly good pieces of characterization work fell to the credit of Mrs. Joseph Creamer, as the Indian maiden, and Bennett Trainer, as the comical Chinese cook. Mrs. Creamer, who had a quite difficult role to play, rendered it to such fine effect that on more than one occasion she won the spontaneous and unstinted applause of her entire audience.

The supporting parts, Hezekish Bugg (whose name should have been Ananias), by Oswald Kelly; Big Elk, the Navajo Chief, by Frank Roach; Mrs. Petunis Bugg by Mrs. Joe Kelly; Ceralie Blackshear by Mrs. John Nantes; a Young—un by Miss Margaret Monaghan, were all equally well played, and contributed not a little to the success of the entertainment.

The specialties between acts consisted of vocal solos by Frank Flood and Oswald Kelly, and step dancing by Edward Carragher, and Master Maurice McDonald, with the fiddling by Patrick Trainer and Amos Men— aghan. Each of these numbers was rewarded with a well deserved encore.

Mr. Austin Trainer acted as stage manager during the performance, and his services were greatly appreciated by the actors.

If we single out this play for special comment, it’s surely casting no reflections on the other productions. It was but a chance in a lifetime to be invited to Charlottetown.

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