The interwar period was the quintessential transitional stage for the formation of the modern face of the modern Greek scene, and its theater was predominantly musical.

In an era where the circulation of new songs, the launch of new clothing styles, the learning of modern dances, and the adoption of manners were all taking place in the same space, specifically on the stage of the operetta and revue, the study of the life of these two genres acquires interest that is no longer solely theatrical but broadly social.

The peak that this theater managed to reach during the period of 1928-1936, through continuous experimentation, began to decline under the pressure of the regime of August 4th and the competition of cinema. However, by then it had left around 1,000 works, which formed the foundation for the subsequent successes of Greek cinema, and had established on stage, beyond the thematic dichotomy of poverty-wealth that also transferred to cinema, a pantheon of comedic heroes, influential until the early 1970s.

The second volume of this study examines the actions of individual theatrical specialties (actors, writers, musicians, set designers, directors, choreographers), while providing the reader with a range of tools for better utilization of the study as a whole: bibliography, tables of statistical data, performance records, excerpts from reviews, indexes.

[Excerpt from the text on the back cover of the edition]