CRIMSON PLAYGOER

Last night Pi Eta presented the preview of its seventieth annual show in the form of "Say The Word," a musical comedy. The plot centers about, the efforts of a public relations counsel to gain publicity for a wealthy young lady who returns to America after three years abroad. The theme concerns itself with the ubiquitous love triangle: the heiress in love with the publicity man, and the publicity man in love with his secretary.

Richard Whittemore is perhaps the best in a cast which is good, but not exceptionally so. As the blonde secretary, he (or should we say "she") displays a mastery of the moony facial gestures of a love-sick lass. His singing is also among the best. Joel Ferris, in the role of a phony Russian count, makes the best possible of a part which is none too easy to put across. His Cossack dance is one of the highlights of the show. The beauties of the bulging biceps, constituting the chorus, are uproariously funny. Dave Stiles deserves special comment for his pseudo-jitterbug antics. They bring down the house.

The songs, written by J. Stanley Sheppard and Robert A. Gibson, underwent the acid test when several persons were heard whistling them during intermission. "The Mood to be Wooed" and "What Did You Do, Love" are potential Hit Parade material.

The Bacchus Ballet is possibly the most successful scene in the show. Perhaps unconsciously, Pi Eta has become almost aesthetic here, and plus the highly successful comedy this fantasy makes for an exceptionally good scene.

The costuming is deserving of mention. The lavish gowns of the "feminine" leads remind one of Schiaparelli's best. It is surprising how mere draping can lend a seductive enchantment to a mere male form. The show, as a whole, is an embryonic Rodgers and Hart production.