I would begin first of all by severing them from the frayed traditions of worn plush and sequin, rid them of the so inadequate back drop such as is given them, the scene of Vesuvius in eruption, or the walk in the park at Versailles. They need first of all large plain spaces upon which to perform, and enjoy their own remarkably devised patterns of body. I speak of the acrobats, the animals, the single and double dancers who perform "down in one" more especially. The so called headliners have their plush parlours with the inevitable purple or rose lamp, and the very much worn property piano just barely in tune. Only the dressmaker and the interior decorator can do things for them, as we see in the case of Kitty Gordon. It is to be hoped that a Beardsley of the stage will one day appear and really do something for the dainty type of person or the superbly theatric artist such as Miss Gordon, Valeska Suratt, and the few other remarkable women of the vaudeville stage. I am more concerned with the less appreciated artists. I would see that they glitter by their own brilliance. Why, for instance, should a fine act like the Four Danubes and others of their quality be tagged on to the end of a bill, at which time the unmannerly public decides to go home or hurry to some roof or other, or dining place? I should like seeing the Brothers Rath likewise, perhaps as refined acrobatic artists as have been seen on our stage for some time, in a set that would show them to better advantage, and give the public a greater intimacy with the beauty of their act than can be had beyond the first six rows of the Winter Garden. They are interposed there as a break between burlesques, which is not the place for them. I would "give" them the stage while they are on it. Theirs is a muscular beauty which has not been excelled. I have no doubt that if I attempted to establish these ideas with the artists whom I spend so much time in championing, they would no doubt turn aside with the word "highbrow" on their lips. They would have to be shown that they need these things, that they need the old-fashioned ideas removed, and fresher ones put in their place. I have expressed this intention once before in print, perhaps not so vehemently. I should like to elaborate. I want a Metropolitan Opera for my project. An orchestra of that size for the larger concerted groups, numbers of stringed instruments for the wirewalkers and jugglers, a series of balanced woodwinds for others, and so on down the line, according to the quality of the performer. There should be a large stage for many elephants, ponies, dogs, tigers, seals. The stage should then be made more intimate for the solos, duets, trios, and quartets among the acrobats. I think a larger public should be made aware of the beauty and skill of these people, who spend their lives in perfecting grace and power of body, creating the always fascinating pattern and form,