This year's Cappicade is made up of four pieces—"Comes the Dawn," "Adam in Wonderland," "The Dinkum Oil," and "The Vikings." All things considered, it is the best Extravaganza for several years past. In [unclear: sor] it is especially memorable, corrosive and mordant, attacking mercilessly the accepted attitude.

The following review was written as a result of the opening performance on Saturday, April 22nd.

That the argument of "Comes the Dawn" was obviously clever, and worthy of an appropriately finished production must have impressed everyone who read it beforehand. To present the "hits" of past Extravaganzas, as instances of things to come, was an eminently reliable way of beginning a new programme. The Judgment of past audiences mode that certain and what better aid, in this century of Science and Aspro Year Books, than the Supernatural!

The production of this "spectral prelude" was thoroughly effective, the ballot of attendant ghosts being especially striking and novel,—a real credit to Hilary Henderson who "created" it. The tortured and unearthly contortions of the dancers, together with R. L Hutchens' splendidly tremulous music had the audience in thrall almost before they became aware of it.

The ballet, of course, was not unexpected. For during the visit of the Covent Garden Russian Ballet, Hilary took lessons from the renowned Anton Dolls, himself. His teachings, in this case at least, did not fall on stoney ground.