WE have noticed that in writing about pantomimes the critics of our contemporaries usually make two rather serious mistakes. The first is the assumption that pantomime is really intended for the amusement of children, and the second (which to a certain extent is implicit in the first) is the conclusion that most pantomimes are unsatisfactory because they fail to provide the children with suitable fare. A glance at any pantomime audience should dispel the first illusion. Even at matinées the children are in the minority, while at night the disproportion is quite startling. To us it seems that the real purpose of modern pantomime is to give conscientious objectors to music-halls an opportunity of witnessing a music-hall entertainment without shame. It follows that, even if the second criticism were just, it would not be very important; but though we agree that the average pantomime is far removed from the ideal entertainment for children, it is at all events quite harmless, and contains a number of elements that children like. They appreciate the colour of the pageant, the papier-mâché treasures, the gilt moons and ultramarine sunsets, the jewelled and gilt scenery; they like the funny clothes and red noses and boisterous horseplay of the low comedians; they like the “little girls” in short skirts, in whom the sophisticated recognise the tired ladies of the ballet; they like, in fact, nearly all the things which writers with sentimental views on children think it necessary to condemn. As a general rule they do not care for the love-making or the singing; after a long experience of pantomimes we are prepared to say that they are right, though our reasons are not perhaps theirs. The singing in pantomimes is nearly always extremely bad, and the fact that the principal boy is always the principal girl makes the love-scenes ridiculous. The wonder is that in an entertainment that must at all costs be made attractive to adults there should be so much that gives genuine pleasure to young people.