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Tollemache Wade, though he regarded any show in which Miss Gwendolyn de Vere, née Bridget O'Callahan, had a part through the roseate spectacles of his personal affection for her, could not deny that “A Pair of Gray Eyes” was not a new musical play.

For, in a way, it was a historic play, a gently reminiscent play that had been cut out, pasted, remodeled, and recast; had been restored to its original form, renamed, and once again rewritten; finally had been rehashed with the help of a collaborator who was an impecunious cousin of the producing manager, and who took seventy-five per cent of the royalties and put it through all the regular paces of condensement and enlargement which make playwriting such a delightful pastime for a nervous writer blessed with an artistic temperament, a conscience, and a lack of humor.

The music contained stray bits from Gilbert and Sullivan's operas and a good many Wagnerian motifs made over and syncopated, while the dialogue was richly spiced with lines from “Charlie's Aunt.” There was, of course, an opening chorus showing a London society matron whose daughters—seventeen of them,