If the tired undergraduate would see a good play let him hie himself to Ye Wilbur Theatre where the rollicking musical comedy, "Very Good Eddie," is on view. There are songs and jokes and girls enough there to please the most blase, and the cast of principals could hardly be bettered. Not since Victor Herbert's "Red Mill" has a musical show of this order contained such tuneful melodies as Jerome Kern has written, and, wonder of wonder, "Very Good Eddie" has a really truly plot.

Of course there are marital complications; there couldn't be a musical show without them. But the complications are cleverly handled and even the introduction of the charming musical numbers causes no hesitation in the swift procedure of the whole.

Ernest Truex, as the effiminate husband, is a remarkable example of what a good character actor can do. No one who saw him as the tough boy "detectuff" in "The Dummy" a few years ago would even recognize him in his present role. He has a rare gife of becoming not himself, but the particular person he is enacting for the present. He is thoroughly at home in his present part, having played it once before in "One Night," Philip Batholomae's farce, on which "Very Good Eddie" is founded.

Alice Dovey is particularly effective as the saccharine bride of a "big, strong man," and Anna Orr is full of that particular "pep" which is bound to get across. Oscar Shaw, as the dashing Dick Rivers is highly amusing and the hotel clerk of Denman Maley is a character which should go down in musical comedy history.

There are others, of course; Florence Earic, Megue Paxton, Jean De Briac, and they are all, every one of them excellent. And so, with wonderful music and attractive chorus, and highly commendable principals, the show at Ye Wilbur is certainly very good, Eddie.