also presented renowned Lesbian stars such as Claire Waldoff to draw in additional crowds. Especially the sexually provocative sketches between the songs made his reviews and revue operettas famous. The comedians Claire Waldoff and Wilhelm Bendow were hired to perform slapstick and dialectic humour similar of the likes of Charlie Chaplin and Karl Valentin. They provided an ironic view on different topics and cheeky 'hidden' references to e.g. sex practices of heteros and homosexuals. Besides, there were also jokes about sexuality woven into the song texts by the lyricists. This made the heterosexual audience laugh, especially those who understood the insider jokes, and it especially catered to the homosexual crowd. Bendow was particularly famous for his camp acting and double entendres. Furthermore, on Charell used sexually suggestive imagery, like in Von Mund zu Mund in which ancient Roman soldiers were portrayed semi-naked holding lances and swords. Charell revolutionized the German musical theatre by developing the idea of 'staged nudity' further than had been standard until then. He discovered modern female chorus lines in New York and was the first to bring them to Berlin, where they fuelled his stunning success. When the other theatre managers tried to copy Charell and also hired female chorus groups, they presented them as nude as possible. While the fight over who had the 'most naked' women in Berlin was raging, Charell's staging of nudity moved into a wholly different direction: when the audience became tired and bored of a straightforward display of naked bodies ("Yes, we are all pretty tired of those flesh exhibitions. The audience is sated with thighs. Not to mention, how fed up we are of the mass display of female bosoms."), he started to artfully arrange the nudity. Charell wanted “to reawaken aesthetic feelings” in the spectator “by artistic composition”. In addition and as a contrast to the omnipresent female nudity, Charell also hired boy groups, e.g. the Tyrolean dancers, the “Schuhplattler and Watschentänzer”, for Im weißen Rössl, or the “Jackson” and the “Sunshine Boys”. In the first case homoeroticism is quite obvious, the tabloid newspaper BZ am Mittag noting “juicy guys in leather trousers, who slap each other in time. […] My God, they have the right cheeks for it!” Charell also used famous male sex symbols in his operettas, like Alfred Jerger, Max Hansen and Siegfried Arno, the latter doing a famous striptease in when comparing his battle