That hoary old motif of musical revue, the lie-detector, reappears in the edition of "Artists and Models" now current at the Majestic, this time in the guise of a mysterious chamber lined with ancient plates, one of which falls whenever a lie is told. It would be interesting to test that room by discussing last night's show inside it. The strong suspicion is that almost every favorable comment would be drowned by the crash of shattering china.

For in strict truth this Shubert concoction is a pretty flabby affair. This is not to deny it any merit whatever undeniably it has its moments, as for instance in the delightfully absurd Balloon dance, in the dancing of Tommy Healy and the mere appearances of Lucita Covera,--in the orchestral jazz and the far-famed "Living Palette" and "Living Statues", and in an occasional pleas- antly executed evolution of the chorus. But these bits of relief serve only to make the whole show spotty; they are by no means enough for its salvation.

Nor need this minority report occasion much surprise. A revue which originally was far from the best of the series, as the years pass by finds its jokes becoming stale, its songs worn out, its best dances and comedians gone on to newer things. The result is prettly likely to be some such flaccid exhibition as that which is now holding forth on the Majestic stage.

Boston censorship has, of course, wreaked its will on this piece, so that it is altogether unrelated to the seductive photographs on the lobby. But it is greatly to be doubted if even the lure of wickedness would have saved so anaemic a production. Perhaps the municipal censor, or whatever he is called, is doing the public a service by demonstrating how hollow a revue which depends on its reputation for naughtiness is likely to become whenever it is made to be well-behaved