BLACK CROOK DANCER LOVES BOSTON LITTLE

Mlle. Maya Keila, prima ballerina in Christopher Morley's revival "The Black Crook," is not much interested in Harvard students or in college men in general. Or such was the statement she made in an interview which took place during the matinee last Saturday behind the scenes in the Shubert Apollo Theatre.

Mlle. Keila, the daughter of an eminent sculptor in New York, also expressed her disapproval of Boston audiences. "I don't like them," she said, "because, I suppose, they don't like me. I guess I'm too bold for them." Coming on the heels of the Mayor's ban on "Strange Interlude," this announcement on the part of an actress seems logical. An exhibition of her ability to move her eyes in a meaningful manner accompanied this statement as a sample of her "boldness."

No Juggling Here

"Boston audiences" continued Mlle. Keila, "like jugglers. I am not a juggler." She expressed relief that in two weeks the show was to move to Spring-field, which, it was understood, though better than Boston, was still within the boundaries of the Commonwealth of Massachusetts.

This is only Mlle. Keila's second season upon the stage. When asked if she had inherited any of her father's talent for sculpture, she replied that her only art lay in moving her legs; but that she liked dancing so well that she intended to make it her life work. "My poor, dear teacher," she said, with little trace of either pity or affection, "was Turassof. Of course eventually I intend to do concert work. For the present, however I shall continue in musical comedy with my partner Mlle. Lezandre, who also dances in this show. Although Mlle. Lezandre and I have little in common in the plot of the present performance, we are the best of friends, and intend to work together in the future."

Censors Ahoy

The interview was Mlle. Keila's first in her two seasons, and she claimed that she was greatly excited. She apologized because the interview could not be held in her dressing room, as Mlle. Lezandre was costuming herself for the next number. The interview was therefore held in the wings, in a very noisy position. When asked if the audience could not hear the noise made backstage, she paused a moment while a member of the chorus and a scene-shifter had a slight verbal battle, in which terms were used hardly agreeable to Boston censorship. "Oh," said Mlle. Keila, "you'd be surprised at what the audience can't hear."