Uncle Tom's Cabin, perennially attractive, with its touches of nature that makes the hearts in orchestra and gallery alike respond in sympathy, reigned at the New Star Theatre last week.

  The well-known Al. W. Martin's company, which, according to the playbills, gives "the world's greatest production of Uncle Tom," drew a house largely made up of wildly enthusiastic gallery patrons on Monday night.

  Frank Leo in physique and make-up was the typical Uncle Tom and played the part quietly but effectively. But of course Uncle Tom always has to divide the honors with Little Eva, while Topsy grins wickedly and appropriates a large share of the balance. In this case Eva, played sweetly by little Elsie Dohlman, who was especially pathetic in her death scene in the third act, had an unusually gingery and wicked contrast in the Topsy of Kittie Morgan. Eliza, who was Clara Melbourne, crossed the same familiar wiggling blocks of manufactured ice, and did that rather better than she did anything else. Harry Lamack as Simon Legree was satisfactory enough to make the house hiss his meanness audibly while he lived and applaud roundly when he was finally shot down by Lawyer Marks, played with a fair degree of comedy by W. H. Davidson. There were few others to single out for applause from the large cast. The third act, in which occurs the death of little Eva at the home of St. Clair, which, by the way, was a most beautiful setting, was simply and earnestly played and the most satisfying scene of the evening.

  The stage settings showing Jackson Square, New Orleans, and a Southern plantation by moonlight were particularly true and effective. The Jubilee Singers sang fairly well, but in dancing their feet lacked the nimbleness of the average Southern negro. The piece is staged with all the accessories of bloodhounds, plantation songs and cake-walks, and ends with a most gorgeous transformation scene.