Yesterday's performance by children at the Concordia Theater, arranged by Paul Loebel, drew a large and enthusiastic audience; even the gallery was crowded. With respect to children's theatrical performances in general, they cannot be encouraged too strongly, as they stimulate mental activity and develop latent talent which otherwise might never be discovered. This must have been apparent to all who attended yesterday's presentation. The stage is as much of a cultural medium for children as for grown persons, if plays are selected which appeal to the younger element. The impressions created by stage work are much more intense and enduring than teaching in the ordinary manner--which, at best, is dry as dust.

We must credit Paul Loebel with having made a successful beginning. No one will deny that untiring effort and a proper understanding of children's minds is necessary, if such a performance as yesterday's is to be produced. On former occasions, Mr. Loebel has given highly satisfactory children's 2performances, and, encouraged thereby, he has continued the work this season and produced "Dornroeschen" (Sleeping Beauty).

The play's four acts were given in their entirety, including the song and dance numbers.

Mr. Loebel arranged the story with great dramatic skill. The dialogue is flowing and precise, and apparently created no difficulty for the young performers. The budding actors not only showed that they had studied their parts well, but even gave proper emphasis to the words, proving thereby that they thoroughly understood the text--and that is an attainment which many a grown actor has not acquired.

The magic tale of Dornroeschen is so well known that it is unnecessary to repeat it here.

In adapting the story for the stage, Mr. Loebel placed proper emphasis on stage 3settings, and provided magnificent scenery, which proved fascinating to the beholder. The costumes in the first, second, and last acts, were so splendid that no one could concentrate his attention on any particular individual on the stage. The ensemble scenes showed good grouping, and that means much in plays of this type. The last scene in the second act proved very effective; all the marble statues in the king's palatial hall suddenly came to life as a key grated in the long-unused, rusty lock. Another highly imposing spectacle was provided at the end of the play, when Dornroeschen awoke from a century-long sleep and was united with her lover, while ten Amazons paraded and the band played the popular march from Suppe's operetta, "Ten Girls and No Man".

About sixty children acted in the play, and the performance surpassed all expectations. All of the participants deserve praise; particularly Carl Schneider (Fitzliputzli XXI, King of Katerburg in Schlaraffia), Minna Memel (Brillantine, Queen of Katerburg), Katie Oesterle (Roeschen, the King's daughter), Otto Lorberg (Hieronymus), Albert Mueller (the circus owner, Kratawata), and Gustchen Hinz (Tulpe).

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Heinrich Mueller, only ten years old, played the part of the teacher (Rumpelstilzen) and showed remarkable gifts. The youngster was amazing in the humorous part; his mimicry and naturalness created laughter whenever he appeared on the scene. That chap is talented! Many persons in the audience exclaimed, "How natural!" Auguste Mueller as Pomeranzia, one of the thirteen wise women of the Royal Institute of Kaffeeschwestern, sang "Die Thraene" in a most impressive manner. Max Schneider, who painted the stage sets, deserves unstinted praise.

The music was arranged by George Schleiffarth. The aspiring musician was given a large bouquet at the end of the third act; his march composition, "Noble Deeds," was played during the evening, and evoked much applause.

Mrs. De Fry, whose husband is the head gardener of Lincoln Park, recited a poem which brought much acclaim.

After the performance a children's dance was given. The opening number was a 5polonaise given under the direction of G. Lange, dancing instructor.