“You ask about the colours? What are the colours which Shakespeare has indicated for us? Do not first look at Nature, but look at the play of the poet. Two, one for the rock, the man; one for the mist, the spirit. Now, quickly, take and accept this statement from me. Touch not a single other colour, but only these two colours through your whole progress of designing your scenes and your costumes, yet forget not that each colour contains many variations. If you are timid for a moment and mistrust yourself or what I tell, when the scene is finished you will not see with your eye the effect you have seen with your mind’s eye when looking at the picture which Shakespeare has indicated.” The producers of the Wagner music dramas do not seem to have heard of Adolphe Appia. Gordon Craig is a myth to them. Reinhardt does not exist. Have they ever seen the name of Stanislawsky? Do they know where his theatre is? Would they consider it sensible to spend three years in mounting _Hamlet_? Is the name of Fokine known to them? of Bakst? N. Roerich, Nathalie Gontcharova, Alexandre Benois, Theodore Federowsky?... One could go on naming the artists of the theatre. (Recently there have been evidences of an art movement in the theatre in America. Joseph Urban, first in Boston with the Boston Opera Company, and later in New York with various theatrical enterprises, may be mentioned as an important figure in this movement. His settings for _Monna Vanna_ were particularly beautiful and he really seems to have revolutionized the staging of _revues_ and similar light musical pieces. Robert Jones has done some very good work. I think he was responsible for the imaginative staging [in Gordon Craig’s manner, to be sure] of the inner scenes in the Shakespeare mask, _Caliban_. But I would give the Washington Square Players credit for the most successful experiments which have been made in New York. In every instance they have attempted to suit the staging to the mood of the drama, and have usually succeeded admirably, at slight expense. They have developed a good deal of previously untried talent in this direction. Lee Simonson, in particular, has achieved distinctive results. I have seldom seen better work of its kind on the stage than his settings for _The Magical City_, _Pierre Patelin_, and _The Seagull_. At the Metropolitan Opera House no account seems to be taken of this art movement, although during the season of 1915-16 in _The Taming of the Shrew_ an attempt was made to emulate the very worst that has been done in modern Germany.)