Sunday in New York

John McClain outlines, "The author's consideration here is the plight of a young lady from Albany who comes to visit her brother in New York, having discovered that she has exhausted the supply of eligible young men at home because she will not go to bed with any of them. But when she becomes hopelessly and physically attached to one in a crowded Fifth Avenue bus—a most engaging one at that—we realize that her determination will be put to a strenuous test. The intricacies that follow her to a fairly conventional line, reaching a climax at the end of the first act with the arrival of the rich and desirable townie from Albany, who has decided to claim her—legally. A fig for the fact that she and her new friend are in bathrobes! She merely introduces him as her brother. This would seem to present an unraveling problem of impossible proportions, but Mr. Krasna meets it head on in the second act and brings it to a safe conclusion, carefully guarding his heroine's virtue." And, as the action moves swiftly from scene to scene, the complications multiply uproariously. A small fib, made to avoid a misunderstanding, grows enormous and our heroine is hard-pressed to convey the truth which will save her engagement—and her reputation. Fiance, brother and friend are ultimately set straight on what has transpired, but the tangling is wildly funny.