Maple Leaf Rag (ballet) on stage, he tears off her skirt. "Maple Leaf Rag" was Graham's 180th choreographic work. Even so, reviewers noted, she still had the capacity to surprise and delight. "The new piece is an entertaining poke by a genius at her own cliches, tersely and wittily stated," wrote "The New York Times"' Anna Kisselgoff. A critic seeing a much later performance said, "While she worked out her obsessions onstage, Graham also had a keen but oft-overlooked sense of humor. Set to several Scott Joplin rags that were still in vogue during her teenage years, "Maple Leaf Rag" is a sly and
Frog Legs Rag number of characteristic James Scott compositional devices in this early work. Jasen's appraisal of "Frog Legs Rag" is not unreserved: he also places "Frog Legs Rag" within the early period when James Scott compositions were "flag-waving" and lacking in the restraint the songwriter developed after 1906. Unlike Joplin, who lengthened traditional ragtime phrasing, Scott explored the genre's dynamic qualities with shortened phrasings. Among songs published by Stark, "Frog Legs Rag" was second in sales after Joplin's "Maple Leaf Rag". "Frog Legs Rag" has been described as "brash" and "exuberant". It was also considered to be a landmark in ragtime sheet