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By Klein H.

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To avoid arousing Erlanger's suspicion, the lease had been in Henocksberg's name, and there was nothing J, J, could do. But he was far from defeated. There was a closed hotel around the corner from where he was living, and he thought it would make a fine location for a theatre. The hotel was owned by a Mrs. Baker, a member of one of the city's oldest and most prosperous families. She was now an elderly woman who, like many in her generation, disapproved of the theatre. But like Sam and Lee, J. J, could be persuasive; and after a number of meetings with Mrs.

Long evenings of four-act plays filled with spectacle-battles, hurricanes, real horses-were major drawing cards, indicating how avid theatregoers were for the kind of scenic realism and large-scale action set pieces the movies would begin to offer in the new century. With a program selling size and sensation, Sam was running a carnivalesque playground, a "people's theatre" with something for everyone. In his first season against the Syndicate, Sam not only held his own, he quickly expanded by leasing the Grand Opera House.

In both, the play was A Texas Steer, a farce by Charles Hoyt, a long-forgotten playwright who in his day was the box office king of the American theatre. In version number one, recounted by John Shubert, the company manager of a touring edition of A Texas 18 THE BOYS IN SYRACUSE Steer skipped town with the receipts-a fairly common occurrence at the time. During the week's engagement at the Wieting, the actors had become friendly with the young and personable house manager and now turned to Sammy to help them: could he raise the money to continue the tour?

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4-Dimensional compact projective planes with small nilradical by Klein H.

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