With one possible exception, "Queen Philippine," as it was presented to the graduates in the club theatre last night, is the best opera the Pi Eta Society has produced. The play had the first requisite of an opera--tuneful and harmonious music--the book had many bright lines. The most marked characteristic, however, was the smoothness and finish of the production which could have been attained only by weeks of conscientious rehearsing. The chorus executed their movements accurately and with a great deal of life, and it was evident that they had been drilled to enunciate clearly. In both acts their costumes were copied from the modified Spanish dress of the Philippine Islands, and the scenery depicted typical Philippine landscapes.

Except in one or two instances when the principals were slow in picking up their cues, their work was spirited and natural. Their lines, as well as their songs, were given clearly and distinctly, without any apparent nervousness. The leading role--that of King Philippine,--was taken by J. C. Miller 1L. He portrayed the avaricious, whimsical old man in a very amusing manner. H. F. Hurlburt 1L as Lord Chichester was excellent. His lines were pointed; and he had cultivated a laughable twang together with the languor and stupidity of the stage Englishman. His song in the second act, "Etiquette," received several encores. N. L. Tenney '03 was peculiarly fitted for his part of Father Chartreuse. At the close of the second act, he removed his cowl and appeared in white satin to sing the "coon song,"--one of the best musical numbers in the show. In John de Breeze, C.A. McCarthy '02 took a difficult part very well. He showed considerable skill in his interpretation -- more, in fact, than an amateur usually possesses. His work was notably good when he appeared with the princess; their love duet in the second act was the best song in the opera. A. S. Proudfoot '02, as the princess, deserves praise for carrying himself so gracefully and naturally in girl's costume. The most unique acting was done by H. Ohashi '03. His Japanese love song and sword dance were the most original specialties of the show. The musical honors belong to N. L. Tenney '03, A. S. Proudfoot '02 and H.L. Wells '02.

Among the best of the half dozen specialties were the native Filipino dance and the butterfly dance. The six men in the butterfly dance. The six men in the butterfly dance wore gauzy robes with huge butterfly wings on their backs. The movement was sprightly and rhythmic; the light and color effects were unusually good.

Tickets for the Boston matinee at the Hollis Street Theatre are now on sale at the box office and at Herrick's; seats for the two Cambridge performances may be obtained at Thurston's.