who because of their conjugal attachments to another man and their affection for a Spaniard, are unable to return the young aspirant's love. At least the audience seemed to be perfectly familiar with such a state of affairs, and laughed and smirked as only a thoroughly sophisticated audience can. Poor Tony chooses to moon over the affair and cherishes the memories of pleasant summer days spent with his beloved Rose at a cottage rented to her by his mother.

While he is away on a trip, however, his mother wisely rents the cottage to Professor Coe and his son and (would you believe it?) a daughter. His rage at their refusal to vacate is far from gentlemanly.

Confronted by Miss Coe's absolute refusal to give up the lease, Tony makes the best of the matter by constantly visiting Miss Coe and pouring forth the story of his "deep love" for Mrs. Rose Helen Trot. Incidentally, Miss Coe, who is, of course, a very altruistic listener, turns out to be "The Other Rose".

Garrulous Mother Coe is elated with his improvement, which manifests itself in a regained appetite. Her joy is short-lived, however, for she hears from the hairdresser that "that dangerous woman" is stopping at Bar Harbor, the very next town. As Miss Coe puts it, "she revisits the spot as a criminal revisits the scene of her crimes". A tense War of the Roses follows, but Tony gets "a cold chill" by visiting the widow. The "fire of youth" is turned to "true love", Mother Mason attaches herself to the Professor, and "The Other Rose" at last has her "romance".

On the whole, we are left with the feeling that in Elsie Hits and Bernard Nedell, Mr. Giles has found the two members of the cast that he has so sorely needed this season. With a play that gave them a wider range for their ability, they might show their talent to better advantage.