In her dance descriptive of the charms of country life, so clever and so perfect was the combination of mime and dance that a positive illusion was created; and only at the close did one realise, suddenly, that it was veritably a song without words. A step, a gesture, a little glance, and one could have sworn one heard a poet’s lines! Popular as the dancer had already made herself, her work in this particularly charming ballet confirmed the growing opinion that here was a dancer who was supreme in her art as a dancer-mime; one to be reckoned among any gallery of the great artists of the past. In the autumn of the same year was staged a ballet by the same experienced trio, Wilhelm, Lanner and Wenzel, entitled “Vineland,” which introduced to us some novel and sumptuous colour schemes and gave us the sensation of Mlle. Génée’s “champagne” dance, a piece of terpsichorean music as sparkling as the most glittering of Offenbach’s operatic melodies. Early next year there followed the lively, up-to-date _divertissement_, “High Jinks,” in which the leading parts were played by Mlle. Génée, Mlle. Zanfretta, Miss Dorothy Craske, and Mr. Fred Farren. An adaptation by Mr. Wilhelm from the popular Viennese ballet, “Die Puppenfee,” under the English title of “The Dancing Doll,” was produced on January 3rd, 1905, and was notable, among other things, for Mlle. Génée’s impersonation of an automaton in situations not very dissimilar from those of “La Poupée,” and a notable point in the production was a delightful eccentric dance by Miss Elise Clerc and Mr. W. Vokes, as a pair of Dutch dolls. This very successful ballet went into a second edition on April 3rd, and on June 30th the theatre was closed for redecoration. When it reopened on October 9th of that year the _habitués_ found considerable alterations had taken place under the direction of Mr. Frank Verity, F.R.I.B.A., all designed for their increased comfort, while the decorative style, representative of the true Empire period, had a note of distinction hitherto lacking in some of the London vaudeville houses, a note more in keeping with the demands of modern times. The opening ballet, by Mr. C. Wilhelm and Mr. Sidney Jones, was “The Bugle Call,” which had a well defined plot, and in which Mlle. Génée played the part of a French bugler boy of the late eighteenth century.