The Birmingham age-herald., 1909-04-04
CHAT WITH WORLDS
 MOST FAMOUS DANGER

, of Schiras. by Eilenbourg. I was tho Rose of Schiras. the hundred-leafed rose It Is a charming little story. The rose Is more beautiful than all the other flowers, who are consequently Jealous of her. The prince cones and sees all the flowers, but they are none of them pretty enough for him. He sends for the rose; she comes, and Is seen to be so much prettier than any of the others that at last she Is acknowledged.
 Then I went to Munich and danced at the Royal Opera house. 1 was very suo- cessful in Germany. 1 was only IT then, and the lady whose place took was about forty-two or forty-three. and, of course, she was not quite as light as I was. They seemed very pleased with the contrast-but she is still there. They very kindly wanted me to wait for her place. but l am very glad 1 decided not to do so. I should imagine she must have been good dancer at one time, but now she Is not so light IS she was years ago.
 After Germany l went to England and then to Denmark, where 1 danced at Co., penhagen in .Coppela." The King an0 court were present at he performance. When l went to England, l had no idea l should remain so long, for my contrac t was only for six weeks Miss Dora Bright wrote me delightful little play that was produced at the Playhouse, Cyril Maude' $ I theater in London, for cne. matinee. In 1t l am a nymph coming out of tree, and it combines singing dancing and mining. It lasts twenty-eight minutes. l would like to do 1t in America, but 1t is not de- cided yet.
 Some time ago I was blamed in Lon don on account of the ballet skirts, which was rather unjust as never wore them as short as the Italians do, as I think fI,x< hf AL ls.1 let skirts; they are almost a gymnastic sort of dress. I always wear them be- low my knee. Some time ago there was great deal in English papers about these skirts, and of course Mle Genee was criticised because she was the only dancer in London who wore ballet skirts at that time. They had one or two Italian these frightfully short skirts, but mo- body spoke to them. In my little "deb- utante' dress my skirt comes nearly to my ankle. l attribute my success on the stage not to my dancing alone, but also to my dressing. I always very care- fully study the character I am supposed to represent, and dress accordingly. I considered the ballet "LAmour' was made rather ridiculous by the dancer, as it was supposed to be number of years R, C.. and she wore modern skirt and her hair dressed in modern fashion on the top or her mead, instead or being ar ranged to suit the part.
 I have been most fortunate in having good uncle and aunt, who have looked after me and have saved me much of the worry of an ordinary theatrical life. have had what would. I think, be con- sldered a quick success, which has not, however, come to me without hard work I was experienced when I was 15; through my uncle having theatre I gained ex- perience which other dancers less for tunately situated do not have when they are 25 or 26. z
 My favorite part Is ".oppelia." and [ am also very fond of Hes Papillons," by Mme Catilana. My uncle arranged "Coppelia" for me-
 For the first two or three years of my training I, was not allowed to go on my toes, but only to do the simpler ex- ercises.
 You cannot force dancing Many peo- pie think it is thing that any one can 5learn but that is not so. Some people could never dance properly, if they stud fed for lifetime. Common sense must tell them that nobody could become n perfect dancer if they have anything wrong with leg or an arm.
 Somebody said to me not long ago: "Why will you do those frightful pirou- ettings around the stage? It Is for just the same reason that a tenor sings high c, not because anybody likes 1t, but just to show that he can do it. That is my excuse for the turns around the stage I also have to show what I can do, al- though 1t really has nothing to do with the performance. find that 1 am ad- evancing all the time in pantomime. I