At the Copley Theatre on Monday night, for the first time in America, was presented Charles McEvoy's "The Likes of 'Er". The play is on the whole a simple and quite unaffected story arising from post-war conditions, a comedy that mixes pathos with humor. The plot concerns itself with Sally Winch waiting for the return of George Miles her sweetheart. Sally has other wooers, and these attempt to tell stories against Miles. But she refuses to believe them, even the one told by Miles' friend Cope, who is an artist in falsification, and who described Miles' condition because George has believed that no woman would marry him wounded as he is and he wants to put Sally to the test. Sally refuses to believe, George returns from the war slightly wounded, and a reconciliation is effected by the final curtain.

Mr. McEvoy has written two acts of true merit, and a third act of uncertain quality. Into his first two acts, he has deftly drawn characters and conditions, has advanced his story in terms of character, has well handled straightforward and honest speech. The beginning of the third act does not seem quite correct, nor in keeping with the rest of the play. The scene in which the unbearable Florrie first makes advances to George and then turns into a bull in a china shop, breaking handy glassware, regardless of Mr. Jewett's expenses when the play has finished its run, seems a discordant note. But at the conclusion of this scene, in spite of some subsequent notes of reformation, the play returns to its more certain and more interesting paths of the preceding acts.

Miss Willard played the heroine and played her capably, with great variety, sympathy, and skill. All the changing moods that the part demands were well differentiated and clearly brought, out. As Alfred, the friend, E. E. Clive appeared at his best. His work is always an outstanding feature of the Copley Players, and this week he was doing some of his best work, handling comedy with a certain and delightful ease and acumen, and turning from his comic scenes to those of pathos with skills. His final confession of the sacrifice he had made and of his own love for Sally was simple and effective. The very title of the play suggests that Cockney accents will be heard. And so they were, but not always clearly spoken or artfully enunciated on the first night at any rate. Miss Ediss was an offender on the score and so were Mrs. Belmore and Mrs. Day, particularly in the first scene. But on the whole the company was more than competent in an interesting and unaffected play, which mingled comedy and pathos.