When people come out of a theatre humming the songs of a show, it's a sure sing that they appreciated the music at least. But when people continue to do that and go back to see the show a second and third time, it's a sure sign they like not only the music, but also the show itself. And when people have been going to see the show ever since 1924, it's a sure sing that with a good cast the show deserves four stars.

"The Student Prince" is that four-star operetta. The music, by Sigmund Romberg, is excellent. The plot and the dialogue, except for a few insignificant lapses by Dorothy Donnelly, are amusing. The cast, considering the apparent shortage of males, is remarkable for its full chorus and, while not the best over assembled to perform the musical, does justice to it.

Everett Marshall's powerful baritone, used to the role of Dr. Engel, the Prince's tutor when he goes to Heidelburg for one year of freedom before becoming King, dominates the stage the few times he appears on it; he gives a fine rendition of the operetta's them, "Golden Days;" but a little less repetition of it in the beginning would have made the song more moving near the end when it reminds the Prince, who has become King of his days as a student.

As the Prince, Frank Hornaday uses his penetrating tenor voice to advantage in delivering the well-known "Deep In My Heart," in a duet, and "Serenade," backed by the chorus. At times he is a little insincere in a role requiring deep sentimentalism and emotionalism; but on the whole his musical performance is good enough to hold up his slightly weak histrionic performance.

While Marshall has played the Doctor for numerous companies, nearly every now company that forms finds a new Prince and a new partner for him. This ime Kathie, niece of the landlord of the inn where the Prince abides during his stay at Heidelberg, is exceptionally attractive, besides having the other necessary qualities of a good soprano voice and acting ability. Laurol Hurley is a believable "heroine" and surely headlines the female element in the cast.

Besides its music, "The Student Prince" has been noted for its none too subtle, but clean, comedy. Somebody has tampered with Miss Donnelly's handiwork, however, and such remarks to the valet's valet as "You 4-F" and by him as "Okay, toots, let's pitch," while all right in a modern show, spoil the comedy of the second and the delicate balance Miss Donnely has established between out-and-out slipstick and straight humor.

It is a remarkable fact that the Messrs. Shubert can present such a large and youthful men's chorus as the Prince's fellow students. Although the ensemble seems decreased in size, it still provides a pleasant background for the principals' songs and does not seem diminished in vocal power when singing its won, "To the Inn We're Marching" and the "Drinking Song."

The settings, costumes, and lighting are still as lavish as before and add to this effective production of well-written and well-scored operetta.