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WHO'S WHO IN THE CAST

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BILL ROBINSON ("Pops") has been nationally favored as an entertainer for more than a quarter of a century. That takes a bit of doing, especially in these days of thickly burgeoning talent. But Robinson has man-aged to keep on top for at least that time and to date has no challengers in his style of precision dancing or the glow of his stage personality. He is, furthermore, one of the few stars who maintains the tradition of colorful legend, and of being almost as well known by his nickname, "Bojangles," as by his given one. Robinson was born in Richmond, Va. As a boy, he trained to be a jockey. But he had "dancing bones," and, before long, was touring the country at five dollars a week in a gaudy spectacle, "The South Before the War." His next step was vaudeville, in company with George Cooper, who acted as his straight man. It was as a single, however, billed as "The Dark Cloud of Joy," that "Bojangles" first began to show his genius as a dancer. He has had, incidentally, no formal training in the art, though experts have written many an erudite article concerning him. Most of the established musical comedy stars were on vaudeville bills with Robinson and learned a good deal about dancing from him while waiting in the wings. His famous stair routine has been widely copied, but it is generally agreed none approaches the grace and technique of its creator. Broadway first accepted him in the early editions of "Black-birds." In 1930, after "Brown Buddies," he went to Hollywood, spending the next decade in motion pictures. In some of them he was teamed with Shirley Temple, as her "Uncle Bill," and these were among the youngster's most successful vehicles. As a matter of fact, his motion picture, vaudeville, and night club engagements are so lucrative that it is hard to woo Bill back to the musical comedy stage. He did return, however, to play the leading role in the hit musical, "The Hot Mikado"; then he went West again for the film, "Stormy Weather," and other pictures. Last spring, he was starred on the Coast in Sid Grauman's revue, "Born Happy." Outside the theatre, Robinson leads a full and interesting life. He has a great capacity for amusing verbal invention. The 
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outstanding word he has given out language is "copasetic," which can be defined as "couldn't be better" or "sitting on top of the world." His nickname, "Bojangles," means "happy go lucky," and that, during a life of strenuous hardships, work and success, is what the one and only Bill Robinson is today. 

AVON LONG (Windy) achieved something of a triumph when, in the Cheryl Crawford - John Wildberg production of "Porgy and Bess," in 1941, he stepped into the role of Sportin' Life and was hailed as a fine new theatrical talent. It was his first Broadway assignment. Born and educated in Baltimore, he planned to enter the ministry and won a theological scholarship. But a clerical career was not for him. He studied singing at the Boston Conservatory of Music and dancing with Alexander Kosloff, formerly of the Russian Ballet. He made his professional debut in a night club in that city. He was featured in several Cotton Club revues and subsequently appeared in a short-lived West Coast production of "Porgy and Bess." He had begun to think that the ministry would ave been an easier choice than the theatre after all, when he was offered the role of Sportin' Life in the "Porgy and Bess" that proved the most successful of all. He remained with the Gershwin folk opera throughout its Broadway run and road tours. this spring, he was headliner at Cafe Society until rehearsals for "Memphis Bound" got under way. He has also been seen during several summers in productions of the St. Louis Municipal Opera.

SHEILA GUYS (Lily) was born in Forrest, Miss. (pop. 4,000). She first sang professionally in a small night club in California. A talent scout booked her into a Detroit nitery and then came a term as a singer with Joe Turner's Band. That stint over, she returned to Kansas City, where she had become a favorite, for a solo engagement. Just then, curfew sounded. Miss Guys was sans a job. She packed a bag, came to Manhattan and got an audition with the producer of "Memphis Bound." It is her first Broadway appearance.

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