Mr. Sarg has been asked why he does not attempt poetic drama with his marionettes. He is faced, of course, with the problem which confronts all the puppet showmen here in America of finding material suitable for a given type of doll and also acceptable to local audiences, hitherto unacquainted with the characteristics and traditions of the burattini. Concerning a possible performance of one of Maeterlinck’s dramas by the marionettes, Mr. Sarg has said: “I am turning that over in my mind. The practicable difficulty is the exaggerated walk of the dolls, which always brings laughter from the audience. But I dare say I can manage that all right when I have a chance to work over it a bit.” Let us hope that this minor difficulty will not prove insurmountable, for, as Mr. H. K. Moderwell in the _Boston Transcript_ has so aptly written: “If he will draw further from the ancient and noble sources of puppet literature, if he will bid his dolls enact some of those dramas which have made the art of the marionette an inspired art, he will merit the plaudits of all puppet-starved America.” _Toy Theatres and Puppet Shows for Children_ Whether, out of their infinite variety, the puppets please or fail to satisfy us, there is one audience invariably eager for them. Puppet shows for children, toy theatres managed by children, what could be more fitting? Specially adapted, professional performances such as the Guignol and Casperle plays have ever catered to youthful tastes with astonishing and perennial success. The home-made booths for simple dolls worked on the fingers are so quickly contrived. Little stages for marionettes are easy to construct out of ordinary kitchen tables. Mr. Gordon Craig gives explicit directions as well as an excellent drawing in his letter, _The Game of Marionettes_, which is published in _The Mask_, volume five. Shadow plays can be arranged by merely stretching a sheet across a door with a cardboard frame and cardboard figures pressed behind it and a light to illuminate the silhouettes. How much fun to have Red Riding Hood thus portrayed, for a birthday party or the shadow of Santa Claus with his reindeer sailing over the shadow gables and down the shadow of the chimney on Christmas eve! The _Juvenile Drama_ of Skelt and his successors, Park, Webb, Redington and Pollock, has been immortalized by Stevenson in his little essay, _A Penny Plain and Twopence Colored_. Printed on thin sheets of cardboard to be cut out and colored by the youthful stage manager (unless he bought, oh shame! the _Twopence Colored_), were characters and scenes for the most exciting plays. Special properties for illuminating and coloring could be acquired also, at extra expense. The words of the drama, plus directions, were printed in a pamphlet. They were based upon thrilling old English melodramas; they presented startling and highly theatrical situations.