Greenwich Village has somehow managed to achieve such a unique reputation with the rest of us that anything purporting to come from there, or bearing its name, is ordinarily accepted at more than face value. We doubt, however, if anyone going to the "Follies", now playing at the Shubert Theatre, in complete ignorance of their name, would find anything exceptional in the entertainment offered. Of course, any musical revue cannot be anything more than glorified vaudeville, but certainly something can be expected above the ordinary round of stars going through their acts; and it was this "something" that was lacking on Monday night. Excellent bits there were, yes; but on the whole the performance bordered on the colorless.

This may have been due in some part to the absence of any clever or melodious songs. Several new ones were introduced, and in a sufficiently original way, but they had neither the catchiness nor the lyric qualities of the old favorites. It is noteworthy, too, that the only really musical scene was founded on "In the Spring a Young Man's Fancy".

Of dancing and humour there was an ample supply. Valodia Vestoff led the dancers, both in skill and pleasant ability, with Ula Sharon a close second. Never have we seen a more realistic interpretation of an Apache dance, moreover, than that given by Gretchen-Eastman and Donald Kerr. Nor a more complete travesty than the one staged by Joe 'Brown and Gordon Dooley; this pair were the funniest part of the show, and whenever they appeared kept the audience in a continual series of hysterics. Honorable mention should be given as well to Mr. Brown's mouth. As a combination of both humour and music the manager offered Ted Lewis, which statement is quite sufficient unto itself; his saxophone and his wit are still in first-rate repair. And as the prettiest girl of the evening, we vote for Bird Millman, who left us all "Up in the Air" over her slack-wire dancing.

The scenery and costumes were good, but not quite, it seems to us, up to the standard set by The Bohemians' former productions. Aside from one very cleverly managed lighting trick whereby an interior scene was changed to a garden set and back again, or maybe the last scene in silver and black, there was nothing unusual. One unfortunate part about the whole revue is that the second part drags very noticeably, which may account for so many of the audience going away with a flat taste in their mouths. If that could be remedied in some way, the general impression gained would without doubt be more favorable. As it is, we must stand by our first judgment, that we have seen worse Follies, but we have also seen better.