Turning to the theatre, she added acting and singing to dancing and choreography, both on the stage and in films, appearing as both actress and singer in _Cabin in the Sky_. She intrigued me, both by the quality of her work, her exoticism, and her loyalty to her little troupe, for the members of which she felt herself responsible. I first met her while she was appearing at the Mark Hopkins Hotel, in San Francisco. She was closing her engagement. She was down and out, trying to keep her group together. I arranged for an audition and, after seeing her with her group, undertook to see what could be done. Present with me at this audition were Agnes de Mille, then in San Francisco rehearsing with the Ballet Russe de Monte Carlo what was to become her first choreographic triumph, _Rodeo_, together with Alexandra Danilova and Frederick Franklin. My idea in taking over her management was to try to help her transform her concert pieces into revue material, suitable not only to the country’s concert halls, but also to the theatre of Broadway and those road theatres that were becoming increasingly unoccupied because of the paucity of productions to keep them open. Certain purely theatrical elements were added, including some singers, one of them being a Cuban tenor; and, to supplement her native percussion players, a jazz group, recruited from veterans of the famous “Dixieland Band.” We called the entertainment the _Tropical Revue_. The _Tropical Revue_ was an immediate success at the Martin Beck Theatre in New York and, thanks to some quick work, I was able to secure additional time at the theatre and to extend the run to six weeks. This set up some sort of record for an entertainment of the kind. As an entertainment form it rested somewhere between revue and recital. Miss Dunham herself had three outstanding numbers. These were her own impressions of what she called different “hot” styles. These were responsible for some of the heat that brought on the sizzling of the scenery to which the critics referred. The first of her numbers was _Bahiana_, a limpid and languid impression of Brazil; then _Shore Excursion_, a contrasting piece, fast, hot, tough, and Cuban. The third was _Barrelhouse_, an old stand-by of hers, straight out of Chicago’s Jungletown.