After the show, the orchestra usually breaks up into parties for a final drink, or sometimes fraternizes with the last call and makes a bunch for supper at Sam Isaacs'. After supper, home by the last cart to Camberwell or Camden Town, seeking--and, if not too full of supper, finding--a chaste couch at about two a.m. The star, of course, does nothing so vulgar. He motors home to Streatham or St. John's Wood or Clapham Common, and plays billiards or cards until the small hours. A curious wave of temperance lately has been sweeping over the heads of the profession, and a star seldom has a drink until after the show. The days are gone when the lion comique would say: "No, laddie, I don't drink. Nothing to speak of, that is. I just have ten or twelve--just enough to make me think I'm drunk. Then I keep on until I think I'm sober. Then I _know_ I'm drunk!" They are beginning, unfortunately for their audiences, to take themselves seriously. This is a pity, for the more spontaneous and inane they are, the more they are in their place on the vaudeville stage. There is more make-believe and hard work on the halls to-day, and I think they are none the better for it. As soon as art becomes self-conscious, its end is near; and that, I am afraid, is what is happening to-day. A quieter note has crept into the whole thing, a more facile technique; and if you develop technique you must develop it at the expense of every one of those more robust and essential qualities. The old entertainers captured us by deliberate unprovoked assault on our attention. But to-day they do not take us by storm. They woo us and win us slowly, by happy craft; and though your admiration is finally wrung from you, it is technique you are admiring--nothing more. All modern art--the novel, the picture, the play, the song--is dying of technique.