The Duncan Sisters, in "Topsy and Eva," a whimsical and musical version of "Uncle Tom's Cabin," got off to a flying start in their engagement at the Forrest Theater last night. From 8.20 until nearly half after 11 they kept the audience almost continuously applauding and laughing. Not at any time in any theatre in this city has a more enthusiastic reception been given a musical comedy this season.

  Rosetta Duncan in her black-face role of Topsy is fifty per cent. of the show. Her attractive sister, Vivian, as Eva adds twenty-five per cent. more of charm, and the "pickaninnies" from the Palace Theatre, London, gather in fiften per cent. of the honors, while the rest of the cast divide the other ten.

  The play is in three scenes, the first and last in Kentucky and the middle one in New Orleans. The first act is just a warning period to introduce Simon Legree, of whip-cracking fame; Marks, and his "I'm a lawyer; have a card?" Ophelia, Eliza, the Shelbys, Uncle Tom, Chloe, and the other "old favorites. Considerable of the original theme of Harriet Beecher Stowe's "Uncle Tom" is kept by Catherine Chisholm Cushing, who modelled the present offering.

  The music and lyrics are the work of the Duncan Sisters. Rosetta Duncan's Topsy is as impish as any audience could desire. She gets the laughs without the slightest seeming effort, and wisecracks and gags of ancient vintage, when shot across the footlights by Rosetta, are gobbled up as the brain children of 1926. Last night she sang "Mammy" songs in the style of Al Jolson, dropped her galoshes much after the fashion of Eddie Cantor and his overshoes, and danced in the eccentric style of Ada May, once upon a time known as Ada May Weeks. Surely nothing more could be asked of a comedienne.

  And sister Vivian as Eva made an attractive picture, brought out the best that is in Rosetta's system, strummed the guitar and ukelele with the skill of Brooke Johns on his banjo, and in addition sang and danced in a "different way."

  The music has not the class of a Friml, Gershwin or Stothart, but the twenty-eight numbers all have a lilt and swing of their own. The dancing girls from London were given a round of applause with each appearance, as was Marguerite Ball, an exceptional specialty dancer. Joe Thomas' saxotette was also received with more than ordinary favor. The supporting cast is adequate throughout, including Eunice Harper, Edmund Fitzpatrick, Vernon Richard, Jessie Bell, Alonzo Price, Frank K. Wallace, Dan Brennan, Antoinette Boots, Eileen Ducall, Bert Keyes and Myrtle Ferguson.