Since 1908 the Majestic has seen another colored company, Cole and Johnson's, presenting a half-Negro, half-Indian, musical comedy, the "Red Moon." These two men, for years in vaudeville, have written songs for Lillian Russell, Marie Cahill, Anna Held, and other popular musical comedy and vaudeville singers. They have played for six months continuously at the Palace Theatre, London. Accustomed to writing for white actors, their own plays are not so distinctively African as Williams and Walker's. Both Johnson and Cole are of the mulatto type, and neither blackens his face. Cole is one of the most amusing men in comedy in New York. He is tall and very thin, with a genius for finding lank and grotesque costumes that are delightfully incongruous with his grave face. The words of the musical comedies are his, the music, Johnson's. He, too, has become seriously ill, and his company has disbanded. In three years the colored stage has suffered serious loss, but we see forming new and successful companies whose reputation will soon be assured. Comedy has always furnished a medium for criticism of the foibles of the times, and there are many sly digs at the white man in the colored play. Ernest Hogan, now deceased, better than any one else played the rural southern darky. In the "Oysterman" we saw him in contact with a white scamp who was intent upon getting his recently acquired money. He was urged to take stock in a land company, to buy where watermelons grew as thick as potatoes, and chickens were as common as sparrows. The audience hated the white man heartily and sided with the simple, kindly, black youth, sitting with his dog at his side, on his cabin steps. Behind boisterous laughter and raillery the writers of these comedies often gain the sympathy of their hearers for the black race.