Merely Mary Ann Orpheum Theatre-February Thirteenth and Fourteenth. Direction-Blanche Kendall McKey. THE LAST OF THE WEBER HIGH SCHOOL PLAYS ! How solemn it sounds-and how sad. The closing of things seems to be always tinged with sorrow, even though Progress institutes the change. What a procession they make-the galaxy of Weber players trooping through my dreams. There are Stanley Rhees, John Croft and Mary Woolley, smiling in their queer Seventeenth century "Mice and Men" costumes. And the masqueraders- fifty of them romping in. Then the scene changes. The gray walls of a dingy New England drug store arise in the midst of the gay English garden and the voice of Cora Mortensen, broken with wounded pride, comes to me as she rails at her old father, which brings in the "Fortune Hunter" with his broom-and he sweeps the old drug store into the clouds; and lo! the drawing room of a Boston mansion floats down and with it the voice of Leon Bush-low, vibrant-bewailing his "Paradise Lost." Verily it is sad to be shut out of one's Paradise. My heart throbs in sympathy and then-there stands little "Peg O' My Heart" (Marguerite Rogers), laughing at my tear. She was "just told to wait;" and I see her waiting before the footlights for a most wonderful basket of flowers almost as tall as her own five feet. And so they come and go, the bonnie lads and lassies, in their holiday dress. Scattered across the mountains and even over the seas are the little bands of players. Progressing, yes; working, loving, growing; but working, loving, growing as units no more. And in the wake of this progress there is the coloring of pain. But whatever changes Time may bring, the players will live in Memory's world as they were when they made their several bows in the flood of the Orpheum lights. And so we come to "Merely Mary Ann." How appealing was Josephine Rhees in the title role, and how handsome was Olin Ririe as the eccentric hero! Without effort at "acting," playing naturally and sincerely, they both did exceptionally fine work. Lawrence Budge protrayed well the steadier, more business-like friend, Peter. Notable good character work was done by May Pickett in the difficult role of "Mrs. Leadbatter," and by Florence Wright, as her daughter "Rosy." Rigby Jacobs as "O'Garman," Reed Helm as "Jim Blades," Irna Cram and Clara Packard as the "Sisters Trippett" were all good. Eugene Crawshaw as the "Reverend Samuel Smedge," Bert Opheikins as "Herr Brahmson," and Heber Jacobs as "Lord Valentine" did clever character acting. James Lind- say appeared as "Howard," and Harold Jones as a messenger boy. Flowers, lights, music, and gala dresses colored the last act. Close your eyes and you can see them -Frances Cragun, Erma Stephens, Gladys Hunter, Nan Emmett, Verda Bybee, Myra Wright and Melba Douglas; and in the back ground, the guests: Louisa Thurgood, Bernice Harding, Margaret McFarlane, Marion Pearce and Leonard Ross. They smile, and move, the colors mix and fade-how drowsy dream people make one feel! But see, who is this? Not the heiress Marion? It is little Mary Ann in her cap and apron, with her candle waiting to light me to bed. Dear little dream girl, you are like unto Peter of old: "Silver and gold have I none; but such as I have give I thee." Thanks for your light. Mayhap some day our hearts shall need the cheer of youthful joy its flame suggests. "How far the little candle throws its gleam-like a good deed in a naughty world." Gleam on, little flame. And so, Goodnight!