Here is a clever, biting political satire born of the nimble brain and acid wit of Walter Hasenclaver, "der bose bub" of German dramatists since the passing of the terrible Widekind, staged all over Europe as an example of Hasenclaver "boseheit," adapted as a piece of Soviet propaganda by the People's Commisar of Education at the Second Moscow Art Theatre, and now staged for the first time in this country by the Harvard Dramatic Club on the basis of a fresh literal translation from the German text as the forty-third production of the society.

"Napoleon Greift Ein," or as the English has it "Napoleon Intrudes," deals with a wax figure of Napoleon which comes to life and trys to intervene in the modern world. He boasts that he alone can save Europe from becoming slaven of America. "Dann greift or ein," first in a diplomatic conference, then a boudoir, a motor picture studio, a madhouse, and ultimately the museum again.

The satire in penetrating as well as amusing. Mussolini's wax effigy is deprived of trousers because it is more fitting that he appear thus to the world. Napoleon informs the half-dressed Mussolini that he would be better off "without the trousers of dictatorship."

First honors in the cast go to Charles Sedgewicke '34 as Napoleon. He had the Napoleonic manner, the stance, the gesture, the voice,-the ego. He had the serious, preoccupied visionary expression of the general. Jane Mast shared honors in her capable presentation of Josephine. The experienced manner in which she conducted an intrigue was positively exciting. Robert Breckinridge '34 was a highly amusing Hippolyte. Vernon Hodges '34 as Mr. Morris was sufficiently dapper and sophisticated. Some of the parts were somewhat overdone, rough spots in the acting were perhaps too often apparent. On the whole, however, the plot was clever and amusing, the presentation creditably done. R. P. B.