Question: In which theatre of New York City did a play, described as Marxism but using the figure from a Christmas pantomime in the United Kingdom, perform?

The Selkirk Hurdle is the term used by urban planners, railroad employees, politicians, and others to describe the route that must be taken by freight trains traveling between New York City and other points in downstate New York that are east of the Hudson River, and locations in the United States to the south and west.  There are no rail freight bridges or tunnels that cross the Hudson River south of Selkirk, which is 10 miles (16 km) south of Albany and the home of Selkirk Yard, a major CSX classification yard.  As a result, trains from Long Island and New York City (except for the borough of Staten Island which has a rail bridge to New Jersey) must travel 140 mi north to cross at Selkirk before continuing on their way.  Advocates claim that this detour and the inefficiencies that result force New York City to rely more heavily on relatively inefficient trucks than most parts of the United States, where freight trains are more common.  However, at least for traffic to and from the west, this route was touted for its efficiency as the "Water Level Route" by the New York Central Railroad because trains using it did not have to climb over the Appalachian Mountains, and it is still used by the New York Central's successor, CSX, for traffic to both sides of the Hudson River. <SEP>  As a character, she appears in one nursery rhyme.  A Christmas pantomime called "Mother Goose" is often performed in the United Kingdom. The figure of Mother Goose is the imaginary author of a collection of fairy tales and nursery rhymes often published as "Old Mother Goose's Rhymes", as illustrated by Arthur Rackham in 1913.  The so-called "Mother Goose" rhymes and stories have formed the basis for many classic British pantomimes.  Mother Goose is generally depicted in literature and book illustration as an elderly country woman in a tall hat and shawl, a costume identical to the peasant costume worn in Wales in the early 20th century, but is sometimes depicted as a goose (usually wearing a bonnet). <SEP> A combination company was a theatrical touring company which performed only one play.  Unlike repertory companies, which performed multiple plays in rotation, combination companies used more elaborate and specialized scenery in their productions.  Repertory theatre had been popular in the United States through the 19th century, and it is not clear how the combination system originated.  Combination companies contributed to the early success of Broadway theatre, as most combination companies began their tours in New York City.  Combination companies were fueled by stars.  The Star agenda or star system that had been set in place in mid 19th century America helped greatly in the development of the combination company.  The idea of celebrity was at full force and people would flock to theater houses to see their favorite stars perform.  Stars made famous in New York would travel to stock theaters and perform limited engagements there.  “The engagements of the first important stars… were rare and special events”(Poggi 4).  Audiences would come in from all over to sold out performances at playhouses and see their favorite stars.  The Stock companies would cancel their normal repertory programs for a few nights to allow for the show of the star.  The star would be supported by the local company of actors in the play, which proved to be very frustrating to them (Poggi 5).  After the star left, the company returned to its repertory schedule as per usual.  Yet annoyed by the lack of talent from regional companies, the stars began to search for companies to tour with them.  They began to tour with two or three actors, and then eventually whole companies would tour with them and they would perform a repertory of plays (Wilmeth 200-201).  This switch to companies that support the stars for the whole tour was one more step in the transition from stock companies to combination companies. <SEP>  One critic described the play as "Marxism a la Mother Goose".  The show ran at the Adelphi Theatre in New York City from May 20, 1937, to June 19 of that year.  Jules Dassin and John Randolph were among the play's cast. Revolt of the Beavers was a children's play put on by the Federal Theater Project by Oscar Saul and Louis Lantz.