After the fig-leaf affair that blossomed and burst here some weeks ago, it might be dangerous to mention that the Veterans Theater, delivering the "world premiere" of William Gerhardi's "I Was a King in Babylon" tonight, was thinking of a scene in which scantily-clad souls, awaiting reincarnation, flit around a dimly-lighted stage. Latest reports have it, however, that flesh-colored tights will not be worn. From its name, it may seem that the Veterans Theater, a group newly organized by Jerome Kilty '49, has some affiliation with an old Army or Navy clique. On the contrary, the name is merely a name, and the "veterans" are just like actors anywhere else--as tonight's production should prove.

William Gerhardi, whom nobody knows very much about, is a British writer, born in Russia. "I Was a King in Babylon" is his first play, and at a rather ripe old age, Gerhardi is witnessing Jed Harris' production of the work, plans for a New York showing next season, a fat check from paramount Pictures for the screen rights to the vehicle, and, of course, the Veterans Theater's grand opening at Rindge Tech auditorium.

On the stage, the play seems highly possible, but movie production should be hindered slightly by the number of seductions, the risque dialogue and the double-entendres that will eventually find their way to the cutting-room floor. Wrapped in complicated shuttles between heaven and hell, past and present, the play, according to one member of the east who ventured to take a flyer on an explanation, is one great satire; on faddism, on reincarnation, and on satire itself. The main characters are placed, as usual, at the three points of the triangle, and they, with the rest of the cast, are flashed back and forth by the sorcery of one Hector Rigoletto, to their counterparts in the past.

The Veterans Theater Workshop, which is something of an offshoot of the Harvard Dramatic Club, seems to be a business-like, serious, non-collegiate type organization. Their plans for experimental production include, pending authorization, James Jeyee's "Exiles," and other works not commonly staged.