The musical stage in the United States may be said to be a birthright rather than a profession. A critical examination of the conditions quickly shows one that the number of women at present prominent in light opera and kindred forms of entertainment, who have earned their positions by continued endeavor and logical development in their art, is comparatively small. The majority are, in fact, the happy victims of personality, who have been rushed into fame chiefly by chance and a fortunate combination of circumstances. They are without the requisite training, either in the art of singing or in the art of impersonation, that would entitle them to be seriously considered as great vocalists or as great actors. They are, however, past mistresses in the one essential for their profession, -the art of entertaining