Evening star. [volume] (Washington, D.C.) 1854-1972, 1903-02-28
for many years has been the great high
queen Of ballet at the Paris Opera.

Tor many years has been the great m8n
queen OF ballet at the Paris Opera.
"Of late years we have seen on the stage
certain dances which certainly have not de-
veloped from the pure classical tradition.
began the interviewer timidly. Yet we ap-
plauded them. The naturalist Quadrille, the
can-cans and chahuts Of the music halls,
involving as they did q not unpleasing bill
lowy>effect Of lingerie, were called Partisan.
And the luminous dances Of La Loie Fuller!
Her peplum took harmonious folds dear TO
the lovers Of Greek statuary, and her scarfs
scintillated with a thousand varied fires
OF sunrise and sunset. 1t was an enchant-
ment for the eyes. But the cake waikiki
" The cake walk, mon Dieu. 1t Is nice, or.
rather, 1t Is strange and unexpected, replied
Rosita Mauri. But it has no connection
with the dance. When one sees Ii for the
doubt very much that the'taste for it will
keep 1t on the stage.
Neither Graceful Nor Charming.
ITO me. In certain respects, it recalls
this or that character dance. for example,
the ''pas des bottes' of "Coppelia,'' con-
tinued the queen Of the Paris Opera ballet.
But, no, the distance between this novelty
and veritable dancing is really too great.
The cake walk-its the Barrisson Sisters
over again. If the persons who dance II
have grace and charm the cake walk will
appear gracious and charming. In itself.
however, 1t has neither of these qualities.
Notice. continued the ballerina, notice
how easy the cake walk is to learn. There
is one explanation of its success. The young
maids and matrons of society who revel in
it have never, I fancy, sought to become
classical dancers. The classical dances re-
quire too much time too much effort; while
the cake walk is an affair Of few les
sons"
Taken Very Seriously.
All this is taking light thing very seri-
ously.> And the curious thing to Americans
in Paris is the seriousness with which the
cake walks innumerable French admirers
defend it.
"But what can you see in it?" I have been
asking couple of my friends, the one a
young Partisan sprig Of society, the other
physician, middle-aged man, who ought
to know better and does not. What can
you see in It? You know nothing Of the
American darkey, with his rocco elegance
Of dress and movement? You cannot ap-
preciate this burlesque rejoicing in his live
ly graces?
NO" they reply, '.but the attitudes and
movements Of the cak walk are in them
selves amusing, taking and novel. And
we are not so ignorant OF the negro as you
ourselves the original cake walk. ."
II doubt 1t much, to see you dance it,"
Grivonne's oeillades.
That's just your American jealousy" an
swered the doctor. Have you seen little
not been charmed with her 'oeillades.'
I'VE call them goo-goo eyes
"Her languishing backward lit.
Like little dog on its hind legs.
"And the delightful way she holds her
arms and hands? We find It charming and
novel Then the movements Of the cavalier
are Of very suggestive gailantry, full of
the pride of life, replete with a strengthful
swagger that proclaims the mastery of
,, youth. We Parisians Of today are in love
with all that sort~o thing. We are not
what our fathers were. We are changed.
We are becoming Americanized And so.
And sou
and so we rise on our hind legs and
prance and shout!'
Teaches American Dances.
heard very much the same thing from
the American high priest of society dancing
in Paris, the now-famous George Washing
ton Lopp, in his washington Palace" just
behind the Elysee Palace Hotel. Someone
has been backing Mr.. Lopp in a million
francs enterprise; and the result is this
really wonderful washington Palace" No
dancing master, in Paris or elsewhere, ever
had such an establishment before. All the