Variety (Oct 1928)

Wfedncsd^y, October ,^4,. 192$> L E G'l T f M ATE vAnrETY 65 Plays on Broadway JEALOUSY Drama In thrfcc. acts-adapted by EuBPnc "Walter from the French of. LrOuls Vcrntuil. Presented by A. H, Woods at Maxine lCl- liott's theatre Oct. 22. Staeed by Gulhrlo McCllptlC. Maurice. ^ . John HalUday ':ValCrle...;. '.Pay i3ainter Perfection in productibii from a commercial standpoint is an abso- lute minimum of actors, one .set and virtually nO' stage Hands; Two pei-- Bons as the complete cast is that minimum, since only; one would re- isult in a mpnolog. The idea has been a sort of mirage for mariigera for many years. Two-person plays have been tried, but with little real success. But "Jeilougy" has arrived and A. H. \yoods, who presented a. play with twp characters before, has found what should, be a winner.. "Jealousy" is dirama; in fact, tragedy. Even with another topic it could hardly be anything else. A. comedy with two characters could hardly hold an audience for ah eve- ning, in other days vnudeyille has offered two-person sketched of no little dramatic power and succes?, but they lasted but a quarter hour or so. The Grand Gulgnol has re- peatedly done the same thing for a grisly 15 minutes or so, and. perhaps Louis Verneuil started his Idea from: a tragic thumb-nail sketch o. the kind. • ■ Mr. Woods, took his little play out In the nearVby sticks several tlme.s. Originally Pay Bainter had .Guthrie McClintic playing the other lead, but when "Women" was, taken off, John Halliday stepped In, ,' The pair are starred, and are stars in ''Jeialousy," which earned perhaps a dozen cur- tains at the final Monday nfght. There are unseen eliarjicters In **Jealousy". and they are felt in the, atmosphere of the play.. The phone cbniiects them with' the lives and deeds of Maurice and Valerie, They have just been married, but before that Valerie .was his mistress. There was a great love between them, but there were things he could hot un- derstand. At midnight, upon their return frohi the wedding supper, he demands to know; Of: course, she. lies. The existence of the deep love be- tween theni is made actual despite the conditions of their- existence. Maurice is ian artist and Ignorant of business. She is conducting a shop until his work receives recognition. There had been a former lover, Henri, but that wag before they met and dismissed from their frequent violent discussions. But the intrud- ing presence of Lamberti, banker, wealthy, and past 60, forces. Itself Jnto the mind of Maurice. Valerie Inslisted time after time that she Vfas his ward. , Only the murder of liamberti brings out the truth. Under his gruelling iquestidning she admits she called upon the banker, had given herself to him and then declares she killed him. . She excuses thie visit because of financial need, and swears she would do anything to, help Maurice. When he denounces her, she concedes It, if it will help the man she loves. But Maurice Is the. murderer. One Clement, an employee of the bahk- er, had visited the man and depart- ed after an argument. He Is arrest- ed. Valerie is questioned. When She relates the examination,,Maurice decides he must confess. Gomes a new.spaper that Clement is freed on. an alibi. But Maurice has called the police and he leaves after exacting the promise of only truth from Va- lerie. The play ends with Valerie making the sign of the cross, believ- ing her evidence will free Maurice. It Is a logical conclusion. No tricks to bring a happy ending, which would have spoiled the play. Maurice In phoning the prefect that "hT3" is the murderer merely says the cause was Jealousy. • Eugene Walter in making the adaptation seems to. have wrought so well that not one drop of the essence wais lost. Guthrie McClin- tic, though stepping out of the play, ■handled the direction splendidly. For -.such a play to carry sustained Interest, every factor' must be of hish Order, and that seems so. , Miss Bainter arid Mr. I-Ialliday give such sterling performances that theirs will, probably be i-ated ariionp the be!5t Of the season. "jealousy" Is so serious a plairy that it figures to draw class patron age, but in enough measure to carr; It for a run. • /beef. OLYMPIA Ollbert Miller production of Ferenc Mol- nar'3 new comedy in .throe • acts (slnKlf. sol), tran.<!lated by Sidney Howard, fitapred by. the producer. At Empire, New Vork, Oct. 10. Countess Llna.......... ;Cora "Withcrspoon' Count Albert........... Grant Stewart I'rlftcesa Eugenie PIata-I5t'.InKPn, =^Ijaur*-Hone=Gn5Ss^ Olympla, Princess Oraollnl, ho.r dauprht- ■ ter ; Fay Com.pton Captain Kovacs, of the Imperial Hun p.arlan Huasars..,. V.'.Ian Hunter Colonel Krehl, commanding the Dl.Mr trict Constaliulary lOchle Ling Prince Plata-KtHngcn, Adjutant.--G»>n- erul of the Au.'trlan Imperial Cavalry Arnold KorfT adaptation into Engliyh'^by Sidney Howard, is by no inoaris a "PJay's .the Thing" nor a- "The awuh.'' It bristles with smart dialog,, brilliant satire and important people. Under the Gilbert Miller entrepreneurship it po^iesisesi ah air-of idealism a^nd authenticity; further fortified by faultless casting, which completely creates the illusion of the prole- tarian auditor peeking behind the scenes of Austrian nobility, but, de- apite all thOKO positive virtues, it is negative tlieatrical fare. , "Olympia" is too loquacious a dramaturgy; too obvious an. enter-, -tainment, such as it is, and too uri- syinpathetically peopled with un- sympathetic people. Besides, but for Olympia : boiiiff of the. nobility and Capt. Koyacs 0£ the peasantry, there ax-e too many local: counter- parts Ini heires^-chaufl'cur- rela.tionr ships to. nuake the entire thesis ar- resting or , particularly, distinctive. The aura of regal formality, the impressivenc.<Js of the gaudy gilt and tinsel of military, uniforms, the repression of stiltedly polite dialog, all need something besides these intrinsic qualiflcationa to shape up as good stage fare. If cotiiJled with a highly romantic situa.ti.ori, it' is generally sure-fire, particularly if an element of spice also figures. And while almost all of these points are dragged in in thiJi ne\vest Mol- har play, there is ; still somethihg lacking. , There couldn't be a more im- pressive titular player than Fay Comptoh, British imported; She is riiajestically impressive as. the haughty Princess, Orsolini, whom a, romantic captain of the Irnperial Hungarian Hussai'S bends to his will. There couldn't be a more roma,nticaliy appealing , male lead than Ian Hunter, as the captain, a player also brought over from Eng- land: by Miller. And Laura Hope Crews, . as the nervouisly proud mother: of Olyrnpia,. who sanctioha her daughter's supreme sacrifice for the sake of the family honor, all be- cause she has a. dread, of prying newspapermen "who are forever making notes in their notebooks"" at this fasThionable Austrian water- ing place during the summer before the war, couldn't be surpassed. But, with it all, "Olyrnpia" lacks. It can't last long at the Eriipire, With Miller having switched "Heavy. TralTic" Into, the Henry Miller, .he'll probably keep the weik sister "Olympia" in orily until the new Somerset Maugharii play he's doing Ig ready to succeed it.. It's not unlikely the present incumbent at the Empire will fold up even be- fore that. A&eT. feeling itself acute in searching out deep meanings, when there really isn't a'nylhirig profound in the play except its mechanicism. Pi^ce is beautifully staged and some shrewd scenes.have been writ- ten in. One is a fantastic niglit club episode "played jri .semi-dark with a wealth of, half-naked; girls in a floor show and a strident im- personation of Tex G 111 nan presiiU ing., comedy here that wlll pass fOr keen satire, disembodied Voices breiaking. through from the mob with llash observations , of the jazizy spenders. , . ' All the satire Is rather .heavy hianded. A, rifiarriage ceremony is carried out with all the real effects, wherein, the biide iagrees to take "all . this man's goods.jchattels, in- dents and properties;" and the bride-- groom iSwears to have and to hold "this, woman's warm care.sses*"' etc., an pver'elaborated travesty upon a jazzy marriae;e of material people. Similarly a romantic ceremony goes to the other extrerine of syru py sen- Inient,. everything/being oversealod and exaggerated. . In the end, of course, Jones goef back, contented, to his garden-tend-^ ing wife In Floral Park, provirirj: that wealth is an Illusion and, as one of the characters is niJide to say, '!happiness is a way stiition, be- tween too much and too little." . A detail that contributed to the gaiety of the premiere was the evi- dent relish with - which Otto H. Kahn followied' the argument of th<? futility of riches from an aisle seat. THE GREY FOX WIlHaLm A. Brady;. jr., and Dwlght Deere .Wlman prettent a drama of. ancient Roman life by Lemlat Esler, staged by the author and, Mr. Brady ; 8ettlng£i by Jo^ MIelzlner; at the Playhouse, Oct. 22; ^S.W top. Blagio........................ .Andrew Lytle Francesco Vettorl.... JL M. Kerrigan Arturo Robert Buckncr Nlrcolo Machlaveni............Henry Hull Jeffro.....i .Warren- Hymer Caterlna Sfor^a;............. Chrysttil Heme Ottavlanoi.......f........ .Mai lih Berkeley Da Caaale;......;..........Reynolds .Evans Pergeant of .the Guard.:..,.. . George Tobias First Soldier:............,....Mll«i Flanagan Second Soldier...............; . Lewis Milne Pretty Pletro. .Denis Gurney The Captain SavelU A1 fied Webster Don Mlchelotto... ..Nat Pendleton Ollverotto DaFenna.Norman St. Clair Hales Ce?are Borgia, Kd.wnrd . Arnold A Blond Girl .I.,a:vlta. Miller A Nun; Mallory DaVl.s The Borgia's Womeri-^The Misses Qulgley, •Goodwin, "Ware, Elder, Hamlll, Payne, Day, Paula, Cortese and Fernandez. Aes.'isslns.—The • Messrs. Marino, Sardlsco, . Marston, Dua:rte and Freed ley., . Noblemen—The Messrs. Row, ' Packer, Wrowley, Bowers, Murray, . Morrison. Kemp, La Moree, Barrle, Deane, Lion- heart and Wright. Soldiers—The Messrs. Centervall, snienway, Baker, Tibbetts, Leavltte, Hilton, Mea- charo. Clifford, Alden, Hill, Clark, Mc- Carthy, Howard and Torollo. Molnar's new comedy of before- the-war snobbery among the Aus- trian aristocrats, for all of Its shrewd conception and Bklllful MR. MONEYPENNY Channlng Pollock's "verbal rartoon,"- In three aiits and nine scenes. Produced by Richard Boleslavsky. Designed by Robert Edmond Jones. Incidental music by Kay ■Warburg. Forty-nine characters programed.' Scaled at $2.f>0 and $3 Saturday topi At the Liberty, Oct. IC. John ■ Jones................... Donald Mieek Junior Jones.....i.... ...Evan Heflln Mr. Moneypenny.. .'.Hale Hamilton Glory. .........Catherine Dale Owen Molly Jones. Ruth Nugept Carrie Jones.. ....Margaret Wycherli* Hostess. .Betty Brenska David Jones. Albert Hayes Others are: Charles Blattery, Lyons WIckland, Edward De Tlsne, Stanley Zlpr set-, I>onald Campbell, Jlobert Vivian, Lee Smith, Helen Spring, Marlon Morehouse, Audrey Balrd, Douglas R, Carter, Frank Sylvester, Hamilton Mott, Edith Babson, Grovcr Burgess, . JAhn D. Seymour; James Coyje, Clara Everett, George Parker. Ohannihg Pollock has made a play out of the not very profound idea that even in our jazzy age money isn't everything and the homely vlr- tuess still make- for happiness and contentment. To the illumination of this theme he brings every known trick of stage symbol, so that the auditor gets a rather confused Im- pression he Is sitting in on a sort of Hanlon Bros. "Voyage en Suisse," done Irito a problem play.. Result is a theatrical freak, but so. full of naive, stage' Burprlse, startling spectacle and unexpected incident that ,the, proceedings take oh a certain fascination. Two elements that will attract attention .are . the fantastic stage pictui'es and a remarkable ispeed of episode. Fantasy takes the form of such symbolism as became notable in "The Adding Machine" and used in more subtle manner In ''Machi- nal." Here, the story takes on a "Faust"-like complexion. Mephisto in thei guise of- Mr. Moneypenny ap- pears before Jones, discontented bank clerk,'and promises him riches if he will renounce God and the doc- trines of his class. Jones is Iristantly transported to a sort of musical comedy world of Big Business, where symbolic fig- ures shovel gold from a r chute ani routine treadmill goes ori to a chant of "Fifty thousand, half a milllcn. Make a billion.". Workers faint ana odEO-op.=^trying.^aJ5_e«JB^_pacc with a giant metronome that tlcRs We TfiU"- ing pace, while Mr. Moneypenny, obviously . the Spirit of . Soulle.ss Business, cracks his whip over tho exhausted stragglers. It,'s all pretty childish, pretty baliwy-obvious, but it has a certain Interest, like a Brisbane editorial that hammers home a truLsm with frenzied emphasis. That's the qual ity that makes the play a popular prospect. It tricks the mob Into In these strange days, when: bio- graphies are best sellers, it is dim- cult to rate a play like this one. In no event can It be a flat failure. In scarcely any event can if be foreseen as a financial success of outstanding grade either. "When the same firm of youngsters produced "The Road to Rome," and found treasure • In a dissertation on the classic dayis when men were women's, the Bkeptics sneered; and the skeptics lived to chew their sneers. But In "The Grey Fox," dealing with the life of a! diplomat of Italy instead of a soldier—a double-dealt-with business man of state instead of a sturdy conqueror conquered by a lusty and luscious dame of ancient Italy—there is only distant analagy. Costume plays are always pre- carious. But some get under the modern hide and penetrate sub- cutaneously Into those emotions which know no periods—know scarcely any commas. "The Grey Fox," admirable, artistic and ex^ cellent is not Invested with such a quality. It is the tale of Machlavelll; whose name Is a byword through the ages for craftiness, cunning, strategy. He has skinny legs (In the person of.Henry Hull), and, his hair Is gray and his form Is of the counsel cham- ber rather than qf the more pop-, ulair chamber pf romance, , The only woman, he is .seen to touch gives In, but to save her little principality, and not because sh^ wants' him. He is a rather loathesome figure, patriot to Florence that he dumbly if shrewdly and honestly is. He finishes by having her and her son (not his) atlUettoed to death. He is *i brilliant boob. H© know?5 not how to live. Arid we find him at the close In the antl-cllmax fitting his; disposi- tion, a broken old goof blabbing about the Injustice of existence and the futility of devotion. ; Great successes are not made of sueli fabrie. Critics niay jjriiisi-, audionoe.« may appi-eoiaie, but lift^- weary nit h and wonn-n craving thrill.s in t.lvolr brief hiiliii.^ between toil and. .^-lumber, tin- littli> inter- lude wlun folks ;uv tlieir ow'ii nvis- ters. dt) not hanker for tliis braml of. fare. , . ' ' ■ Tlie settings are ina.c:i\,ilieont!.s tine; The eastiiniinp:. the ]i;4luin;i, the direction, all bi.i; ImiKuc. The easting, • rather foi-tunaio.. Xotliinc. about the. ■vs-liole. of it spv-liin.u: less tiiah the best, and th'at Uars nobody who'.pre.'^eiifs play.^.. ; Chryjital Ilcrne, as tlie re.aral snilill- fime (jueen, of ..-i little. Iialiaii co.r.nty delivers: perhaps- the- liiu'st. truest .and most ringinf? pei-ronnanee ■ of her life—not for.ireiting "I'rai.trV Wife", and "The lloss."' .IVcautifiil. Aigoroiis, ,viV)raht, slio is .coinniahil- ii,ik, eonvpelling and ;tdtnip:iV.le, JOd- ward Arnold, in aiv inspired bit, stands with her. in a startlin.c: per- sonal- hit; ■: lIvU,, playing the piinoipal and thro.wn j)rnetically a numologne in' the seript, is brilliant in spots and heetieully liysterie.-ii in otlicrs. Jl\ill is inclined t<) act, Tl-iere arc .actin-; moment.^, and. in them lie is stellar. Hilt. there are calm, uiid.'rto'ned i-e- lief ..spots, and-in. them ho is stella" too^often .too stclUir; At times hi - overplayintj.is nlil-rasliiinu d and ex- aggerated. .Piit he has his mi n'.>ut;' and .sonV' of them .ire tivme:i(itius PeorKc .Ariiss, L'O' yea.vs .a.sro, Avoiilc^ have done it to .perfection. TIull does-it how quite well; but at timc!- far too we'll., ., ' . It i.sn't nin'eh by wiiy of a "storv;" It is opisodle .nn'd • tlicvo is ■litVle ,progi-o!=;s and le.ss plot.. .. It reeUr with ancient love of count; y. 'off- sta.Qo. intri.crue .ind vicariVuis nioti- -.vation which is not stirrin.T. half the time, It is .never stupid an'^ rarely pul.s.atin.tr. ■ Chnnot he looked forward to as a long-lived mone.y. show. th(<i"^.i-> an nrtistic. candidate' for -. nu'<!ie grat'.tiKlo.'.. '. . ' , J i;-,/^ THE COMMON SIN MeloiJr.Tin.T in thrfp nct.s liv.A>,-lliii-d Mnok preeertrd.by the author (wiih reputed hack- ing, of rhe Shubprt.^) at the Forrest, Oct. 15; st:iged by Mr. Mack. Jim Stpole.........;.,...,...; jThur.fton Hall Helen btoelc ............ ;M.lIllcpnt Hahloy • .Kfen'ncth l.«-iw-ton Bobo" Aster;.. :.-Lvti i>utri(:U Blfml.ng-. -.Frank' Joynor Henry Banloza........... ;Fj.eclprlc Worlopk George .Craliam.-.Harold Elliott Nellie Baxior. ...Iteglnh Jtrowh Donlln . ...... .'.Frii'nU ;miiinnon Poy I'klward H;icoy McCracken ...I'erclv.il Lennnn Marie ................ .Justinq Smith ''The Conimon Sin" as Willard Mack might put it, is the murder of a husband by Jiis wife. That occur- ence is in liis new play. . He ai.so has this, woman assume the .action.s of a "tavt" wliile reluining the man- hers. of a lady. That doubtless is the rriore comrrion sin. Perhaps the plot is not burnished with ne\yheas. Interc-iting melodrama, without be- ing especially exciting. Indications are agaih,st ah .agency demand, which means a limited engagement. In actorial strength "The Common Sin" is not to bo challenged. There are at least five players of high ratlng^Thurston Hall, I^e Patrick, Millicent -Hanley. Frederick War- Jock and Frank .Shannon. However, it -would seem that plays of this type need novelty to get them acro.ss iri tho moat sluggish Icglt autumn season in a decade. .The story begins Jn the elaborate home of Jim Steele who is facing firianclal collapse. He has been wed two years to a selfi.sh, cheating woman, Helen, who has Just gone on what was to have been a night at her sister's. Actually it was to be with her lover, Henry Banloza. Jim is deterred from shooting him- self by the sudden entrance of Bobo Aster who had. been his mistress and a great girl. iDifference; in age Was the reason they had not wed. Bobo had heard of his trouble and came to offer her je-wels and a house he had given her. He refu.ses but she leaves with his promise that he do no rash act and scowls to raise the rtioney. - -—- -—^v. Bobo goes to BanlOza's flat and confronts him with Helen. She de- niands he furnish the coin. Fol- lowed, there by the boy she Is eri- gaged to wed,; Bobo risks happyjess but is willing to go the whole dis- tance for Jim becau.se of his past kindne.sses. Helen return,'! home. :discovers the crumpled suicld*,' note, which Jim had thrown Into the fire- place. She , retrieves It, takes hie gun and slinks to his bedroom. Aftei- killing the sleeping man; she phoney for the cops and exhibits tho nolrv Su.spicion is thrown on JJobo, then upon her yourig man. But it is liobri who gets at tho real truth, tellinv, the -story of the killing as .sihe dreamed itj -vvhlle dciteetivH arc lis- tening in the next room. Helen r sw,i.>ons-and. when taken off by the hulls, blurts,out enough to convict her. . -Miss I'atrick a.s tho thoroughbred lUdn), is sweet, earnest and clever. I'rett'ndiiig to lie slewed .she hatches the sclieine that brinj^s out the.tru.th. .Vnd. she suiv does do the diMnken tii'vl well. 'i"h.it is what nuiUcs the ' final act so inueh hctter liked than ihe Ih'st two. l.'ut the perforniaMce of-.\Ii.ss Han- ley as the ciaiel wife, is ainiost as outstandingi if not ciiually .so. She is suppi'J^od t(^ he a. ^very correct person as to spot cli. .and bearing, rif/y-, but a elu-iitcr. Her line ap- pe.nnnu'e aiid clear dit li.ori cannot fail to attract attention. Hall, was not on; after th^ lii'st act. Ills Jim Steele looked .authentic. tfliannon played , tlvo part of a liuUy-ragging detective. Worloek was IJanloza, a dilletalitewith his woman;" "The Ctininion Sin" may stay for . .tl month or two, because there a^"^ t)ear.s to he no rush of new plays on haiid liy grace of cut rates, Douhtfiil of tiirning a -profit. lii-e. . GOLDEN DAYS Oi-.i'ivtia . in two . aci.s ju-i'sontod by .lav iili..-. .v.- : .-'l.-ijti'd liy A;i'n>n Iji'licdov. ■ llocli- liy Wili.iam Sii'Kol. Mu.sie by - Alci-' mvili'i'Olylia'ui'C.'.li;/. l.yrlra by Jacub-Jacobs. l.iiiiUTS liy liuiiny .Wi-iiloii; At ihc National, .Now y,i!ii<., (><-t. iii, !;:;.r>o toji. . Ktiiniiinui'l .Vravdi-. .....Ui'nny Seldman l>iiiah-, hl.s ilnu^hicr... Itolla Mciset l!:>ili' I.iNili, lUK sisUT, . iHotty Jacobs - Millio, -liiM- diuiKhU'r....'..-. .-Ooldic lOlseman t-'ollx. •'. •' ; ....;... .Muni Si'irebrov Dr. (.;i,co,iwalil. -... . Abe Gross Ml-'-ha- . v.,;..., .Ariron r..ebodov •■^tisii'.' , ..... Yctta /^wcrllng . -•niMij.iinlii Coldiii....... -, .. .. Max Hodln l-'nim-cs, his ilaugliler..Sarah Filler' lii'ilalye...'., ,-,.. -....Jaooij Jacobs I''iuiik.. ;.. .Philip Maltz BliivUle....-. i...Arthur Winters ' This musical suffers too greatly I'lom injudicious, inexpert direction to create muehOf an imprea.sidn. A trite, insipid stor>;, coupled: with shallo.w, ine.\-pre.s.si ve characteriza- tions in the principal .roles, absurd • perforinances in tlie love scenes, and ihei'feetivc tunes,! represent a conibin.'ition whichcln result In only .slight attendance. Aside froni Bella Meisel, an allur- ing songstress who delivers with a great dca;l of charm,- the production is not burdened with any display of concrete talent. The .star, Aaron Lcbedcv, lacking clever material and without any pop lyrics to put over, is dull and flat. Not pos- .scssed of a good singing voice and \y hoofing of-no consequf nce, ; Last .season with S.amucl Gelden- burt,', a powerful dramatic actor wifit convincing vocal delivery, IjCbedev showed to greater effect. Here, in; addition to the difficult as- signment, the star I.s relegated to one of the le.ss important roles, and is kept off tho stage too much to get a chanec to recover his standing; through a display of versatility. Miinl ScrebroV, feeble vocalist who.se work Is marked by a distinct ab.sencc of vigor and cultivation, Is entrusted with the heavy love and dramatic interest. He contributes .generously to the depression. Locale, is in France during the war. • The heroic figure, Felix, swears eternal love to Dinah,, the e.antor's daughter, :by the holy light of the Sabbath candles. After the end of the war he cannot find the girl, who.so home had been de-. stroyed meantime. Felix beeomea engaged to Frances, daughter of a wealthy wur.Mt manufactdrcr. Comedy Interest is shot at from six different angles, each proving unprofitable. The inclusion of a blaekfaee comedian, Arthur Win- ters, in a production of this kind . seems tactless; an idea probably derived from some uptown musIcsJ and unproductive In this section. Lcbedov, Jacob Jacobs, Betty Ja- oohs, yetta Zworling and Goldle Kispman comprl.sc the quintet also trying for comedy relief, mainly re- lief. Yctta Zwerling shows some promise as a nut coniedienne'Of an unusual ,v£u;^[cty who^ should do well with proper sporting atrd ^directlo'h,'-^^^-'~ MorL 30N J.OUR JACK FORESTER FE.ATUUKf) • CASINO DE PARIS PERROQUEt American Plays in Germany Send Manu.irrlptB to VKUX Ill.OCli KKIIKN Jl>'i:lin, Wilmprsdorf J KEITH-ALBEE CIRCUIT MMliniinMiriiniinnBiiiifliiMliiuiiiBMiriinfiMB^^