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THE CRIMSON PLAYGOER

Standard of Pulchritude is Successfully Maintained in New Show

NO WRITER ATTRIBUTED

That national institution, the Ziegfeld Follies, arrived for its annual visit to Boston on Monday night. And with a few exceptions, the 1920 edition contains the same manner of entertainment as its 13 predecessors; the general standard has been maintained in most of the elements of the piece. Of course there is no pretense at a plot, but then one does not attend the Follies with the expectation of finding one. The principal thing is the chorus, and the chorus is "there" in more ways than one.

Besides the usual aggregation of easy-to-look-upon girls, the main offerings are singing and dancing numbers, rather than comedy. The show contains but few excuses for laughter, and it is here, despite the efforts of Fannie Brice and Van and Schenck, that one regrets the absence of such favorites as Eddie Cantor. Joseph Urban contributes his gorgeous settings, and Ben Ali Haggin takes a hand in the spectacular design of the "Love Boat." The recently much-press-agented Mary Eaton makes her Follies debut with graceful toe dancing and a couple of songs, but her comparatively unknown namesake, Doris, is fully as pleasing and deserves more attention. Jack Donahue is an entertaining exponent of loose-jointed dancing, Carl Randall works hard in varied acts, and John Steele sings' well, but to mention all who materially aid the performance would be a lengthy task.

Irving Berlin has written two exceedingly catchy tunes, which have preceded the show to Boston by some time. "Girls of My Dreams" and "Tell Me, Little Gypsy", are familiar enough, and receive a large portion of the applause. Victor Herbert has added "The Love Boat," while Art Hickman's "Hold Me" is the only other song of consequence. One novelty that was introduced consists of a brilliant theatre audience facing the real spectators, in which the actions of an orchestra crowd during the intermission are travestied

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