70.

It was quite a change from my customary "dressing up". Make-up becomes an entirely different proposition. The stage lights do wash away your regular street make-up, your eyes become smaller, your lipstick almost disappears So you have an entirely different problem to solve... for- tunately, the professional impersonators were most help- ful in creating a Susanna-for-the-stage and taught me their tricks. The most fun we've had was the week-end when Marilyn from Seattle was our guest. She's one of the most sophisticated TV's I've ever run across. She is graceful and knows how to move. It just happened that our "Mistress of Ceremonies" could not come to the resort that week-end. So I invited Marilyn to pinch hit in that capacity. She rehearsed her introductions throughout that Friday...we gave her a stage make-up that nite... and wow! She was beautiful! She kept the show running smoothly.

Our show opens with Tone Monroe (the only member of the old cast still with us) doing her impersonation of Marilyn Monroe in one of her numbers from "Some Like It Hot". She's as cuddly and soft and round as the real Marilyn and imitates her to perfection. Next on the pro- gram is "That Scintillating Dancer", Susanna Valenti with an act from old Spain...heels and castanets... in which I knock myself out all over the floor...the gown is a green satin sheath, strapless, which bursts out in pink, purple and green ruffles slightly below the hip line. It's so tight on me that I can hardly breathe, but it's worth the suffering...it gives me a most convincing sil- houette (25 inch waist!). The wig is dark brown with hair coming to my shoulders.

Third Act. It's Terry Allen, a vivacious, petite vamp who brings the house down with her songs. Her best number is "I've Got That Thing". She is a phenomenol performer who knows how to take possession of an audience. Her wardrobe is equally good. She always has to give encores. Then we go back to Toni Monroe. This time it's a real, hot chacha number which she does in a black sheath