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roles of Shakespeare were originally played by men.

America produced some great female impersona-
tors; in this century, the late Julian Eltings after
whom a theatre was named in New York. He toured
the world, appearing before the Crown Heads of
Europe and throughout his career was a favorite
at the White House.

In the 20’s, Mr. Eltinge packed away his wigs, his
gowns, the rest of his expensive paraphanelia and
announced that he had had it; that the art of female
impersonation had deteriorated to a low point of
vulgarity and crudeness. He would not be a part of
it.

Afterward, the great Eltinge confined his appear-
ances to theatrical clubs where star troupers like
Jack Benny, George Burns, Eddie Cantor, Al Jolson
and others warmly applaudeéd the tastefulness of his
art.

With the end of prohibition in the 30’s, the situa-
tion grew worse. Female impersonation was called
. “drag,” and “drag clubs” sprung up all over the
"nation, from New York to San Francisco. Only a
handful were featured artists who had trained them-
selves for the profession.

The rest were largely “campy’ homosexuals who
enjoyed dressing up in women’s clothes and in per-