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One of the most striking features of the Russian revolution is the extraordinary vigor being shown by the theatre. Although industry in general is lagging and languishing, the theatrical profession flourishes as never before. Wherever one turns there are operas, ballets, plays, concerts, etc. And their quality is superb, for the Russians are natural artists. New York and London, notwithstanding all their wealth and prosperity, are not now enjoying such high grade theatrical performances as are being offered nightly to the revolutionary workers of Moscow.

The Communists are keenly aware of the educational value of the theatre—it is significant that in the new scheme of social organization they have placed it under the jurisdiction of the Department of Education—and they are losing no opportunity of using it to popularize the revolutionary point of view. Recently I saw a real Communist performance at the famous "Terevsat," which will serve to indicate one type of this branch of educational work.

The evening’s spectacle was a real variety show, consisting of several sketches. The first was a three-act comedy-drama portraying the winning of a home to the revolution. The point of the play, besides offering the workers a splendid entertainment, was to indicate many of the evils the new society has to contend with—sabotage, thievery, laziness, etc.—and to emphasize the need for loyal citizens and efficient workers in the industries. The "hero" of the play was a young Communist, and the "villain" a stupid, capitalistic-minded worker who stood at the head of the house. There were comedians, workers, villagers, etc., galore.

In the first act the "villain," a militant blockhead, took occasion to express his opinions about the Soviet