Somewhere between the snow-capped peaks of the Sierras and the swampy everglades of Florida, the producers have found a new musical comedy, one which has not lost the untrammelled bloom of youth. By the very delicacy of its charm, it has escaped the praise of those who applaud only the more obvious successes. It comes unheralded by George M. Cohan or Arthur Hammerstein, for as yet it has not attained that mature development that such prominence demands. "Baby Blue" is a dainty, fragile thing with a few sweet songs and a great deal of light buoyant humor. After a great many suggestive comedies and heavy revues of the Winter season, it brings with it the fresh, clean breath of Spring.

The score is at 'times inconsequential, particularly in the case of such a rehash as the "Spanish Juanita", but it contains two lyrics that are very delightful indeed, Lovable You" and "Baby Blue" have not been glorifying the American phonograph so long that they have become as wearisome as the tunes of a year old Follies. These two songs are refreshing enough to justify the existence of the show, but they are not forced to stand alone. Miss Irene Dunne, who has yet to acquire a New York reputation and a forced manner, is young and exquisitely attractive. She is not a finished dancer, but her voice is sweet and compelling, and her stage presence graceful and unaffected. Mr. Fred Hildebrand dances eccentrically and sings far from badly, and together with Miss Wynne Gibson, his irrepressible dancing partner, does some excellent clowning. The chorus is young and enthusiastic, although it lacks that driving rhythm in its steps which only comes with long training. The only sour note in the whole performance is a contortionist dance which is about as grotesque and unsightly an exhibition as this reviewer has ever seen. There is nothing artistic, or even amusing, about the disjointed writhings and ghastly abnormalities of a partially draped figure. Fortunately is does not last long.

"Baby Blue" is primarily a comedy with music, not a musical comedy, and it very much resembles "Mr. Battling Butler" in the way it is bound together. Transferred identity is the original theme, but it becomes mixed with a correspondence school love affair and a murder sketch. The tone of semi-burlesque which pervades the last act is exemplified by such lines as "a day of reckoning is coming", and "curse you, Roger Lavenderlegs", uttered with tremendous vehemence. The plot succumbs more and more to the demands of comedy, but after all, why shouldn't it?