By the time this short subject came out, Segundo de Chomon had bested Georges Méliès at his own game. His camera magic was as fully developed as Méliès. His sense of humor was sharper and his scenes had invaded the real world. Many of the shots of this split-reel short about a bizarre group of tramp musicians who disappear into and out of drums, beach umbrellas and whatnots are shot in the street and the others are on stages decorated to look realistic.