The Henry Jewett players have added a new drama to their already long repertory. This time they are producing George Paston's "Nobody's Daughter" at the Copley Theatre, for what is practically its initial introduction to American audiences. George Paston, whose real name, by the way, is Emily Morse Symonds, has become familiar to Boston theatre-goers through "Clothes and the Woman" which was presented at the Copley Theatre a year ago last August.

"Nobody's Daughter," as the name implies, is the story of a young girl, born out of wedlock, who is taken from her poor home and introduced to the pleasures of the society world by her father and mother, both of whom are married separately and respectably. Interesting and tense situations develop as the parents attempt to conceal their past relations from their true husband and wife. The girl's marriage to a mechanic is opposed but finally consent is gained from her guardian who is her father on condition that after six months among gentlefolk, her mind be unchanged. The mechanic holds her love to the end. The chief problem and development in the play is the concealment of the secret of the parents, its sudden revelation and the consequent forgiving of the guilty two. It is, in a way, an arraigment and condemnation of the double moral standard.

Practically every one of the players in this piece maintains the average of excellence so noticeable in all the Henry Jewett productions. Perhaps Lyonel Watts as "Tony" does not quite reach the others in point of perfection. This discrepancy may, however, be due to his short and relatively unimportant part. Viola Roach, as Mrs. Frampton, gives us a very vivid and affecting picture of a human soul in agony. Her facial expressions as well as her gestures are convincing and true. She is the center of attraction at all times. E. E. Clive illustrates, in the role of Mr. Frampton, a fine, genial gentleman whose honor seems to have been smirched. Others, whose work is especially noteworthy, are Diana Storm, with her internal struggle between religious truth and loyalty to the girl she has brought up from infancy and Charles Warburton, as the awkward but loyal country mechanic. The vivacity and excellent character portrayal of Elma Royton contributes materially to the success of the play. Her eyes are the most expressive part of her mobile, wistful face. "Nobody's Daughter" is very well produced and will beyond the shadow of a doubt charm its Boston audiences with its deep and vital emotional attraction.