“The edifying import of this tale is no less impressive than the spirited enactment of it,--the grace of the fairy, the ardor of the woodcutter, the nagging of the wife, the fervent emotion displayed by the housedog at the smell of the sausages. Such a mingling of fable, parable and sermon, of petty human nature with the inscrutable supernatural which hedges us all in is the authentic material of puppet-drama.” The other two plays, expertly written by Mrs. Hamilton Williamson, displayed to the greatest advantage the particular talents of the puppet virtuosi. It is thus that she depicts the task of the marionette dramatist. “When Mr. Sarg first told me he wanted a snake-charmer, a juggler, an Oriental dancer, an elephant and a donkey in one play, I thought I couldn’t possibly get them together; but, you see, I did.” Yes, indeed, and more besides in the way of adventure, mystery and humor, very cleverly devised in the energetic, simple language best suited to the naïve audience of puppet actors. Nor did the duties of Mrs. Williamson end with her literary labors. Many and inspired were her humbler but equally arduous and indispensable achievements for these puppets. A similar versatility was displayed by the young women who operated the puppets. Aside from the laboriously acquired precision essential in mastering the intricate controls devised for the dolls, each puppeteer has interested herself in other phases of the ancient craft. Some of them made the elaborate and colorful costumes for the dolls. Some helped manufacture the properties, tiny but complete and delightful. My very first glimpse of the marvelous puppets, indeed, was when, led by Mrs. Williamson, I came to a very dirty brownstone house not far from Washington Square, and, entering a gloomy hallway, penetrated through into the dark rear room where the puppeteers were at work, all in overalls, all very busy, all very amiable. Someone was sawing wood, someone was hammering, someone was up on the bridge practicing the donkey and there was a tiny, live monkey perched on the lumber which littered the floor. Puppets and monkey ... of course!--following the example of Brioché and his Fagotin and perfectly true to the best traditions! [Illustration: A TRICK PUPPET In Mr. Tony Sarg’s production, _The Rose and the Ring_; showing how Gruffanuff becomes instantly beautiful upon finding the magic ring] It is Mr. Sarg who has trained and inspired all of his workers, who has designed the costumes as well as the faces and hands of the dolls, modeled after his drawings, who has invented the clever mechanism and most of the scenery and ingenious “business” of the stage, who has directed the actors’ interpretation of the lines, selected the incidental music, superintended the lighting effects, all with an easy air of merely enjoying his little hobby.