The ballet can only be called such for want of another term. There is no dancing proper; except for a few leaps and runs, the performers confine their movements to a series of postures, and a queer, stilted kind of pantomime. It has been stated that Nijinsky by this “choreography” intends to express the essential characteristics of the movements of modern athletes and players of games, but the entire absence of athletic virility or spontaneous grace and vigour effectively negatives the idea. Or at least, if this was the idea, it has signally failed of execution. The “plot” of the piece is the slightest possible. Into this not very realistic garden, empty when the curtain rises, a large ball suddenly drops. A moment later the three children enter in pursuit, and in playful mood begin to look for it. Presently, forgetting the object of their search, they indulge in juvenile flirtation. Each of the girls in turn receives the boyish attentions of their companion, and all three are fast forgetting their [Illustration] surroundings when a second ball, dropping unexpectedly amongst them, recalls them to their senses and sends them scampering away. This is not much on which to found a ballet. All that it gives scope for is the presentation of one little scene of no great purport, but the methods adopted to portray the idle moments of a group of children render merely eccentric what might be an engaging spectacle. The intention seems to be, if there is any definite intention at all, to reduce to their essential elements the characteristic movements of childhood. The gestures and poses of Nijinsky the present writer confesses to finding meaningless--at all events in no way suggestive of unsophisticated childhood. But with those of Karsavina and Ludmila Schollar there is a difference. There are occasions now and then--notably when the two girls “make it up” after a tiff prompted by jealousy over the favour of their boy companion--when there is a something about their poise of body which evokes quite startlingly, for all its stilted stiffness, a memory of childish movements sometime noted. There is nothing, it will be understood from what has already been said of the performers’ methods, of the unconscious grace of an eager, impulsive child. But imagine a rapid photographic “snapshot” of such an incident as the one just mentioned between two little girls--the instantaneous plate would show, in its arrest of movement, just such angularity and awkwardness, and also just such a poise, as Karsavina and Schollar display.