e artist could afford. He
will "get by," because anything does, apparently.

One turns to the big artist for relief, even though minor artists like
The Brown Sisters charm so surely with their ivory and silver
diamond-studded accordions, giving very pleasing transitions from
grave to gay in arias and tunes we know. Accordions and concertinas
are very beautiful to me, when played by artists like these girls, and
by such as Joe Cawthorne, and Grock.

There are more dancing men of quality this season, it seems to me, who
are obscured by dancing ladies of fame, and not such warrantable
artistry. Perhaps it is because male anatomy allows of greater
eccentricity and playfulness. There are no girls who have just such
laughing legs as the inimitable Frances White. It is the long-legged
American boy who beats the world in this sort of thing.

The lovely bit of hockey which James Barton gives is for me far more
distinguished than all the rest of his work in the Winter Garden
Revue. He is a real artist, but it is work that one sees rather a deal
of this season, whereas the hockey dance is like nothing else to be
found. A lovely moment of rhythmic leg work. We are now thoroughly
familiar with the stage drunk, as we have long been familiarized by
Weber and Fields with the stage Jew, which is fortunately passing out
for lack of artist to present it. Leon Errol is good for once, even
twice. He is quite alone in his very witty falls and runs. They are
full of the struggle of the drunk to regain his character and manhood.
The act lives on a very flat plane otherwise. It has no roundness.

I have come on my list to Mijares and Co., in "Monkey Business." We
have the exquisite criterion always for the wire, in the perfect Bird
Millman. "Monkey Business" is a very good act, and both men do
excellent work on the taut and slack wire. "Monkey," in this case
being a man, does as beautiful a piece of work as I know of. I have
never seen a back somersault upon a high wire. I have never heard of
it before. There may be whole generations of artists gifted in this
particular stunt. You have here, nevertheless, a moment of very great
beauty in the cleanness of this man's surprising agility and sureness.
The monkey costume hinders the beauty of the thing. It should be done
with pale blue silk tights against a cherry velvet drop, or else in
deep ultramarine on an old gold background.

The acrobatic novelty called "The Legrohs" relies chiefly on it