Several revues of different sorts opened in autumn, including the latest edition of Charlot’s Revue in London, and Earl Carroll’s Vanities (with Sophie Tucker), The Grab Bag (with Ed Wynn) and Dixie to Broadway (with Florence Mills) in New York. Productions of Countess Maritza opened in Europe, including in Budapest, and a new musical starring Dorothy Dickson, Patricia, debuted in London.

The numerous revues that opened in spring 1924 reflected many different approaches to the popular and profitable genre. Five revues debuted over four days in May in New York (including I’ll Say She Is, starring the Marx Brothers; Innocent Eyes, featuring Mistinguett and on-stage nudity; and The Grand Street Follies, produced away from Times Square at the Neighborhood Playhouse). London had its own revues open that showed tremendous aesthetic contrasts, including Elsie Janis at Home starring the popular American entertainer, and two editions of major series: Ziegfeld’s Follies, which included a sequence dedicated to the memory of Victor Herbert, and George White’s Scandals, the last Scandals for which George Gershwin wrote music, premiered on Broadway.

This chaptercomments on the relationship between moderation and civility and argues that the latter can work as an effective antidote to a festering climate of fear, rage, and intimidation.