The New York rolls of Chorus Equity and the American Guild of Variety Artists list several thousand girls who work in the ensembles of musical shows, vaudeville houses and night clubs, or road-show in traveling theatrical troupes, tabloid units, circuses and carnivals originating in New York. Of these, not more than ten tyros in any year come forth as glamor gals, and the proportion of those with outstanding beauty is just about the same as in non-professional life. New York's chorines, like her models, are drawn to the magnet from every state in the Union and all corners of the earth. Few hit the jackpot. Many Hollywood femme stars once hoofed in Broadway lines and other cuties snared rich husbands or near-husbands. But for every Paulette Goddard, Barbara Stanwyck, Alice Faye, Joan Crawford and Lucille Bremer, there are thousands of kids who pound out the soles of their aching feet for five or six years, then discover that at 21 or 22 they've been around the Stem so long the managers call them "old faces" and they no longer can get work. If they have no particular talent to develop into individual specialties, or if they haven't the faculty to snare a man to take care of them, they've got to get jobs in inferior outlying night clubs or in out-of-town cafés or road-shows, and, typed as a "road louse," there is only one direction for them--down. Yet nothing deters recruits. For every one who gets a Broadway job, there are 100 applicants. Perhaps, because we're getting older, we mumble that "those days" were the best. But the records prove the current chorus gal is not half so gay, glamorous or interesting as the ensemble entry of a decade and more ago. The world has changed, and with it changed the choryphee. In the old days, a chorus salary of 50 or 60 bucks a week seemed like a million to hicks in the sticks, and parental opposition was not too oppressive. The playboys were still around; the mobsters rustled $1,000 bills and the Wall Street Blue Sky subdividers had gold mines up there. Now, a survey will turn up the startling fact that most lilies of the line are using the chorus as a temporary makeshift while completing their education. They double between the cabaret floor or stage, and college. If they're seeking a theatrical career, they spend their days studying voice, ballet, dramatics. The result is, few playgirls at that source. More and more duck home immediately after the show, so they can get up early and go to school or to the coach. This is very bad on love-life, and the few still around with loose shekels don't look too longingly at Broadway. It's getting extremely difficult to meet a chorus charmer. Those in legit musicals aren't usually approachable unless you know someone to perform the introductions, which makes this puzzle something like the one about which came first, the egg or the chicken.