Although there is a current feeling that one hundred million dollars can't be wrong and that even three million is very effective in its way, there is still strong suspicion that one million dollars leaves room for doubt. So, climbing down the ladder of material love one is forced to a consideration of the "Ladder" itself. Opening after what is termed in the advertisements as a two year engagement in New York, the dramatic composition of this name is attracting curiosity seekers at top prices of one dollar and a half. Such a substantial increase over the free for all admission obtaining during its New York, appearance, reverses the usual custom followed by the Metropolitan show company on tour, but it is to be doubted if the rumored twenty five dollar admission to Mr. Ziegfield's "Whoopee" will be raised in accordance with this precedent when it is necessary for it to take the road.

In fact, "Ladder" is nothing if not at odds with existing theatrical policy. It is the artistic contrast, the comic relief if you will, for the drama as a whole. It is the attempt par excellence to give the public not what it wants but what in the mind of an individual it ought to have. Art theatres and experimental playhouses the nation over can only envy the financial resources that makes its existence possible and contemplate the splendid uses to which they could put an equal amount of money. Theatre goers in general may applaud the quiet determination of the first unsuccessful angel who has not burdened the public with a frustrated squealing about an unappreciated mission. And there is still opportunity for Boston, a city that celebrates Armistice Day by parades: to support the reign of paradox and give the "Ladder" a profitable run.