A new edition of “The Dancing Master” was subsequently staged and was notable for some brilliant dancing by Miss Phyllis Bedells, and by Mr. Edouard Espinosa in the title-_rôle_, by whom it was produced. Mr. Espinosa, by the way, forms an interesting link with the historic past. As the son of Mons. Leon Espinosa (1825-1903), an Officier D’Académie, Mr. Edouard is heir of a great tradition, and sustains the heritage most worthily. His father was a pupil of seven of the great masters of the early nineteenth, namely, Coulon (1820), Henri (1821), Albert (1829), Perrot (1831), Coralli (1831), Taglioni (1834), and Petipa (1839), to most of whom reference has already been made, and who were themselves, variously, pupils of the previous generation--which included Vestris, Noverre, Gardel, and Dauberval--who, in turn, were tutored by Pécourt and Beauchamps in the reign of Louis-Quatorze. Mr. Edouard Espinosa himself is a fine dancer and teacher of the classic and traditional school, and is also one of the best informed on the history of the dance. “Europe,” a topical and patriotic _divertissement_, invented, designed and produced by Mr. C. Wilhelm (who, despite his _nom de théâtre_, has an English name and is essentially English born and bred), achieved, on its first performance on September 7th, 1914, an instant success. It was worthy of the best traditions of the Empire Theatre. The choice of such a theme as the condition of Europe, just before and during the greatest war in history, might have been called into question on the score of taste, and in the hands of any but a fine artist might have easily been trivialised. The subject was treated with marked dramatic ability and poetic dignity, and the production, passing from the comparative lightness of the first scene, into the more serious note of the second, attained to a high level of art in the patriotic symbolism of the third, and offered a tableau worthy the brush of any English painter of historical subjects. Since then we have seen “The Vine,” an Arcadian dance-idyll, invented, designed and supervised by Mr. C. Wilhelm, while it was produced, and the dances were arranged, by Mr. Fred Farren. It was superbly staged and proved one of the most original, picturesque and dramatic productions ever seen at the Empire. Miss Phyllis Bedell’s impersonation of the Spirit of the Vine seemed to have in it something of Dionysiac fire and revealed her not only as an exquisite dancer, but a sensitive and temperamental actress. Miss Carlotta Mossetti, another singularly expressive and sympathetic mime, exhibited a sense of classic inspiration in her study of the young Shepherd tempted by the Vine-Spirit; excellent work also being done by Miss Connie Walter as the Shepherd’s unhappy wife, and “Little June,” a lithe and clever little dancer, as the Spirit of the Mountain Stream. The scenery, painted by Mr. R. C. McCleery; the costumes, executed by Miss Hastings, were well in keeping with