Altogether Chicago has reason to be proud of this production. It reveals the fact that Chicago is not without independent artistic initiative, and a full conviction of this fact should lead to interesting developments. Unfortunately in this review it is impossible to speak of the acting in detail, but this is hardly necessary as the critics have given it the stamp of their approval. For the professional finish of the performance credit is due to Mr. W. H. Gilmore. Little Miss Alice Tobin made an ideal Alice. In fact not one part is mis-cast, and all the actors give the impression that they are having the time of their life—which contributes much to the spirit of the entertainment. Mr. De Lamarter’s music has a charming fantastic quality and great delicacy of imagination. And above all the delightful freshness of the play is due to Miss Gerstenberg’s good faith in sticking to the text of the original and not attempting to pump into it any extraneous matter which might have deteriorated into musical comedy or farce. As it is the play is a fantasy, and, when successful, as in this case, no form is more capable of giving lasting enjoyment. S. H. R. Music SAMAROFF AND CLAUSSEN Olga Samaroff is not conspicuous for her bad piano-playing. There are a great many others, as prominent as Mme. Samaroff, as popular in their own way, who make just as much noise when they play—pianists who seem to exert an odd vigilance lest music enter in for a moment. Mme. Samaroff played Beethoven’s E-flat piano concerto with the Chicago Symphony. This work is unique in its bombast, causing one to blush for the composer. The soloist appeared in an ample gown of scorched orange, with slippers of scarlet, and gave the work its traditional beating. The eye suffered only less than the ear. But the excellent Claussen, taking part in a Wagner program, swept away all pettiness. She liberated emotions that Wagner alone can touch, when adequately interpreted. Here is no prima donna, but an artist who sings. Her voice is a brimming-over of loveliness; her emotional power becomes inevitable, for she sings in phrases of beauty—a living beauty that moves to tears. Hers is an art that pervades and satisfies ... something to be treasured. Vocalists are generally peacocks—usually moulting. It is a great event to discover a singing artist, for when the lack is neither a matter of intelligence nor of intensity, it often happens that the musician uses a voice that could never perjure itself as beautiful. Julia Claussen gives a feeling of utter security. No sensibility is wounded or left asleep.