Well, Wodehouse and Bolton and Ken have done it again. Every time these three are gathered together, the Princess Theatre is sold out for months in advance. This thing of writing successes is just getting to be a perfect bore with them. They get up in the morning, look out of the window, and remark wearily, stifling a yawn, "Oh, Lord—nothing to do outdoors on a day like this. I suppose we might as well put over another 'Oh, Boy!'"

From all present indications, "Oh, Lady! Lady!!"—they do love to work off their superfluous punctuation on their titles—is going to run for the duration of the war, anyway….

If you ask me, I will look you fearlessly in the eye and tell you, in low, throbbing tones, that it has it all over any other musical comedy in town. I was completely sold on it. Not even the presence in the first-night audience of Mr. William Randolph Hearst, wearing an American flag on his conventional black lapel, could spoil my evening.

But then Wodehouse and Bolton and Kern are my favorite indoor sport, anyway. I like the way they go about a musical comedy. I love the soothing quiet—the absence of revolver shots, and jazz orchestration, and "scenic" effects, and patriotic songs with the members of the chorus draped in the flags of the Allies, and jokes about matrimony and Camembert cheese.

I like the way the action slides casually into the songs without any of the usual "Just think, Harry is coming home again! I wonder if he'll remember that little song we used to sing together? It went something like this." I like the deft rhyming of the song that is always sung in the last act, by two comedians and one comedienne…. And all these things are even more so in "Oh, Lady! Lady!!" than they were in "Oh, Boy!" (p. 69)