The Birmingham age-herald., 1911-12-16
CABARET SHOWN IN GOTHAM
From the New York Herald.

From the New York Herald.
 A ILL New York that has been to A Paris is overjoyed at the trans A planting of the Cabaret to Broad way; and those who have not yet visited Paris are still more eager for an intro- duction to this far famed fascinating in stitution. Nightly Louis Martins is be- sieged by a clamorous throng, only por- tion of which can find admission to the Cabaret; whose size is wonderfully mag nified by the cleverly placed mirrors and decorations but which is in realty tan- talizingly small. That is a part of the lure, however. If there were room for all who wanted to come, there would be no zest in trying to get in even with Maurice, the Paris dancer, as an attrac- tion.
 To be one of the little circle, however, at the round glittering tables facing the open square where Maurice demonstrates that dancing is the poetry of motion and where other dancers bring their interpre- tations of the last word in terpsichorean sensation from the pleasure centers across the sea; where the singers with copious
 
 daring chansons devised for the refresh ing of the jaded; where the violin strains accompany the swirling of skirts and the contortions of the performer and where the orchestra in decorous back ground fills the interludes with chaste selections-to sit, with faces turned to- ward this center, in a company of social and theatrical celebrities, local politicians, the bearers of foreign titles. climbers and. a few nonentities is to have a new sem sation, and what will New York pay for that?
 The theatres close and the crowds thicllen; the opera is over and there is congestion. From five boxes at the Metropolitan opera house parties have come to the Cabaret.
 Tie tables are filled. The mirrored walls reflect the glory of many colored evening gowns and the sharp black and white contrast of the mems evening suits. The orchestra is dscoursing desultory music. The walters begin to bring on decorative salads and lighted chafing dishes and to fill the gleaming glasses with champagne, wine, liquor, mineral Watef-Dut mostly champagne.
 Then into the open space, which the tables are set to face runs dark haired, dark eyed, brightly colored dancer in an
 rrieescent, sinuating gown, which ends
 in multiplicity of ruffles. This is the Spanish dancer, with a red rose in her hair and a smile on her red lips. She bends and turns and whirls and spins; she is especially strong on the body move- ment and she kicks high and often. She striy es to please the audience, the greater part of which is expert in judging that line of bodily vivacity, and she succeeds. There is sufficient applause.
 The succeeding interlude is not unwel- come, however. At its close Maurice comes into the center of the carpet There is a quickening of interest at all the tables. This is Maurise of Paris; Maurice whose dancing was the sensation of the French capital; Maurice who enjoyed the patronage of the highest French society and to see whom was accounted a priv iege by American visitors to Paris. So quietly does he come on that the dance is wei. under way before one realizes that he is there unless one is watching for him. His first act is simply waltz; no, not simply waltz, for it has the mark of his peculiar grace. Where it departs from the ordinary waltz, and how, is baffling to determine.
 What do we call it?" echoed Darville, the French girl with whom he dances "oh, valse Maurice will do. It is just his waltz. That is all"
 ;u cat ho, Ri waltz. The uninitiated may cry, 'Is that what persons go to Paris to seer" Yet by the grace and beauty of this waltz Maurice wins favor for his more spec tacular work that is to come