In 1935, Escudero made his last American appearance, when I presented the Continental Revue at the Little Theatre, now the New York Times Hall. Among those appearing with Escudero in this typical European entertainment were the French _chanteuse_, Lucienne Boyer, Mrs. Hurok, Lydia Chaliapine, Rafael, together with that comic genius, Nikita Balieff, as master of ceremonies. Other and younger dancers of Spain continue to spread the gospel of the Iberian dance. I venture to believe that, highly talented though many of them are, I may say with incontrovertible truth, there has been only one Escudero. _B. A SWISS COMEDIAN_ In 1931, a slight, short Swiss girl named Trudi Schoop with the dual talents of a dancer and a comedienne--a combination not too common--organized a company in her native Switzerland. She named it the Trudi Schoop Comic Ballet. The Paris _Archives Internationales de la Danse_, formed in 1931 by Rolf de Maré, the Swedish dance patron who was responsible for the Swedish Ballet in the early ’twenties, in 1932 sponsored the first International Choreographic Competition in Paris. The prize-winning work in this initial competition was won by Kurt Joos for his now famous _The Green Table_. The second prize went to this hitherto almost unknown Trudi Schoop, for her comic creation, _Fridolin_. In 1936, I brought her with her company for their first tour. Here again was a fresh and new form of dance entertainment. Tiny, with a shock of boyishly cut blonde hair, Trudi Schoop had the body of a young lad, and a schoolboy’s face alternating impishness with the benign innocence of the lad caught with sticky fingers and mouth streaked with jam. Her repertoire consisted of theatre pieces rather than ballets in the accepted sense of the term. Trudi herself was a clown in the sense Charles Chaplin is a clown. Her range was tremendous. With a company trained by her in her own medium of gentle satire, she was an immediate success. Her productions had no décor, and there was a minimum of costume. But there was a maximum of effective mime, of wit, of satire. Her brother, Paul Schoop, was her composer, conductor, accompanist. Trudi Schoop’s outstanding success was the prize-winning work, _Fridolin_. Schoop was Fridolin; Fridolin was Schoop. Fridolin was an innocent boy in a black Sunday suit and hat who stumbled and bumbled through a world not necessarily the best of all possible, wringing peals of laughter out of one catastrophe after another. Other almost equally happy and successful works in her repertoire included _Hurray for Love_; _The Blonde Marie_, the tale of a servant girl who eventually becomes an operatic diva; and _Want Ads_, giving the background behind those particularly humorous items that still appear regularly in the “Agony Column” of _The Times_ (London); you know, the sort of announcement that reads: “Honourable Lady (middle fifties) seeks acquaintance: object matrimony.”