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Updated: May 24, 2025
The artists of the nineteenth century had found la bonne compagnie the rich, that is to say dancing waltzes to sentimental Olgas and Blue Danubes, but they had drawn quite other conclusions. Yet waltzes and waltz-tunes are just as good as, and no better than, fox-trots and ragtime. Both have their merits; but it is a mistake, perhaps, for artists to take either seriously.
He has lost some of his enthusiasm, and one must be enthusiastic to the point of death itself if he would snatch a Kingdom out of such a fire as is raging now in Kosnovia. Austria has never seen me, probably has never even heard of me. I can slip through her cordon, swim ten Danubes if need be. What say you, General? Will I fill the bill? If I fail, what does it matter?
From elephants carrying in their trunks chatelaines of Shetland ponies, curtseying at the close of the charming act like a pretty miss at her first coming out, to such work as the Four Danubes give you as the closing number, with Irene as a lead, you are, to say the least, carried over the dreadful spots, such as the young man who sways out like a burlesque queen and tells you whom he was with before Keith got him.
Why, for instance, should a fine act like the Four Danubes and others of their quality be tagged on to the end of a bill, at which time the unmannerly public decides to go home or hurry to some roof or other, or dining place?
The audience that patronizes vaudeville would do well to be present at most first numbers, and remain for most or many of the closing ones. A number, I repeat, like the Four Danubes, should not be snubbed by any one. I have seen recently, then, by way of summary, four fine bits of artistry in vaudeville Ella Shields, James Watts, the Brothers Rath, and the Four Danubes.
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