The Era from London, Greater London, England • 11

THE A. 11 March 17, 1894 PLATERS OP TS'E PERIOD. THE DRAMA IN ROTTERDAM. (FROM OUH OWN CORRESPONDENT. ROTTERDAM, March Zegt finished its run at the Tivoli this week, just as it was going with the smoothness that comes from repetition Last night the company of the Theatre Royal Fran-cais de la Hay gave Pagliacei for the first time in Rotterdam in French, at the ftronto A CHAT.WITH MISS ALICE LETHBRIDGE, (BY our special commissioner.) Years ago an eminent professor of the music hall art used to avow that he was "dancing That is not Miss Alice Lethbridge's condition, but she frankly avows that she is an enthusiast.

Suppose one were to adons the style of the confession book, and say to Miss characteristic representation of Silas Kent. Mr W. Northcote as George Piper spoke his few lines well. Mrs Dion Boucicault made a delightful old lady, and Miss Hall Caine's acting as Elsie Kent was fresh, unaffected, sweet, and simple. Miss Caine is one of our most promising and persevering young actresses, anil the hackneyed statement that she lias a future before her may be made concerning Miss Caine without fear of refutation by subsequent fact.

Miss Alma Stanley surprised everybody by the humour which she displayed as Kitty Marshall. We have never seen Miss Stanley to such advantage as in the character of the amateur female athlete and in the medley duet in the second act she and Mr Arthur Williams brought down the house. Miss Marion Terry played Hetty Drayson with all the necessary tenderness and grace and in the "two women" scene in the second act wrought the audience up to a high pitch of excitement by the intensity and reality of her representation of Hetty's anxiety. Miss Terry's refinement and artistic ease gave additional charm to her very effective embodiment. The minor parts were all well played.

The cutting and revision obviously required in The Cotton King have doubtless, by the time this appears in print, been duly done and, when all extraneous matter has been removed, we have no doubt that Mr Sutton Vane's drama will enjoy a very long and prosperous run at the Adelphi. PRESENTATION TO SIR A. HARRIS. THE COTTON KING. A New and Original Drama, in Four Acts, by Sutton Vane, Produced at the Adelphi, on Saturday, March 10th.

Jack Osborn Mr Ckari.es Warner Richard Stockley Mr Edward O'Neill De Fonseca Mr Herubrt Flem.ming James shillinglaw Mr Charles Cartwright Benjamin Tupper Mr Arthur Williams Rev. Mr Ponder Mr Lesnox Pawle Dr. Gilbert Mr Lyston Lylb Silas Kent Mr John Cartkr George Piper Mr W. Northcote Peter Bell Mr Howard Russell Phillips Mr Tripp Inspector Graham Mr Williamson Mrs Drayson Mrs Dion Boucicault Elsie Kent Miss Hall Caine Kitty Marshall Misj Alma Stanley Mrs Martin Smith Miss Kate Kearney Susan Miss Harrison Hetty Drayson Miss Marion Terry One of the best pieces of its class that we have seen at the Adelphi for a long time was produced there last Saturday. The Cotton King is the work of Mr Sutton Vane, whose interesting and ingeniously contrived pieces have already made his name well known in the provinces.

After his success of last Saturday, Mr Vane will want no passport to the confidence of London managers. Not only in The Cotton King stuffed full of sensational incident not only is it cleverly carpentered and strongly put together there are scenes which are not melodramatic," but powerfully and intensely-human and enthralling. And while endeavouring, as far as possible, to elevate his art, Mr Vane has not been infected by any of the heresies to which even "oldest hands at the melodrama-writing business have been known to yield. He has held fast to the unimpeachable hero and the ever-faithful and spotless heroine and as for his villain, he is simply one of the most inveterate, indefatigable devils in human form" that ever walked the boards. And so resourceful, too Richard Stockley's energies are first set to work by the injudicious will of a relative, by which it was ordained that to inherit a fortune he must either marry Hetty Drayson or she must die.

She elects to postpone the latter course, and she has no intention of wedding him, for is she not deeply in love with Jack Osborn, the admirable though American owner of the Ashton Cotton Works? To ruin Osborn, Stockley, who is Jack's trusted subordinate, alters a telegram to the agent of the firm in America, so that Osborn, by an injudicious sale, is ruined. In order to pay every debt he owes, he sells the works to a Jewish but generous financier named De Fonseca, and becomes the latter's employee. With all his industrious scheming, Stockley has found time to seduce, under promise of marriage, Elsie Kent, the only daughter of an aged workman. Elsie confesses her condition to Osborn, and a conversation between them, overheard by Hetty, shakes for a moment her trust in her lover, but the truth is soon revealed by Elsie, and Stockley is baffled in his attempt to sow jealousy between Hetty and Jack. However, he has succeeded in persuading the workmen that Osborn is Elsie's betrayer, and the men gather in the works at night to take their revenge.

Jack is surrounded, is denounced by Stockley, and is about to be set upon by the infuriated mob, when Hetty and Elsie appear from the works, and their statements reveal the. truth, Stockley being only saved from lynching by the generous interposition of Osborn. Previous to the exposure, the villain has laid a plot against Osborn with devilish malignity. He gets a drunken workman named Shillinglaw to make a false kej- to the office safe. Jack is on the point of starting on a commercial mission for America, and wants 100.

These Stockley lends him, afterwards managing, by the aid of the key, to exchange the notes for some belonging to the firm. These Osborn innocently takes away with him the notes are missed and Stockley manages to get Jack, soon after his arrival in America, imprisoned in a lunatic asylum. The place is burnt down, and the prisoner escapes, arriving in England to explain all, and substantiate his innocence. The toils now close tightly around Stockley. He tries hard to make Hetty-catch a dangerous and infectious disease but Shilling-law, whose wife was to have "given it to Hetty, repents at the last moment, and, when Miss Drayson would enter the sick room, thrusts her, with assumed -violence, from his house.

Hetty overhears Shillinglaw and the villain quarrelling in an office in the works, and thus obtains a clue to one of Stockley's numerous conspiracies and, to put her out of the way, the scoundrel thrusts her into the well of a lift, locks her in, and "rings down" the elevator. Hetty is about to be crushed, when Jack rushes iu, tears away a grating at the side of the well, and drags out Hetty insensible. In the last act Shillinglaw "rounds on" his treacherous confederate, and Stockley is led out in the charge of the police. The strain created by the thrilling story is relieved by some quaiut comedy scenes introduced by-two workpeople, Benjamin Tupper and Kitty Marshall, who have made vain attempts at success at the music halls in the strong man and strong woman line. The scenery is a great factor of the success of The Cotton King, and the wonderfully elaborate representation of the cotton printing room, with its restless MR CYRIL MAUDE.

Ulr Cyril Maude, who appears a3 Brigard in the reduction, on behalf of the Actors' Benevolent Fund, Frou-Frou at the Comedy Theatre to-day, educated at the Charterhouse. He spent a good leal of his youth in the north-western States of America, where his early experience as. an actor was Gained with Daniel Bandmann's company. In 1S84 he returned to England, and for a few years acted with provincial touring companies. In September, 18S7, he appeared at the Grand Theatre, Islington, in a melodrama entitled Racing, which had been previously nlaved on tour.

In the production, at the Prince of 'Wales's Theatre, on the morning of Dec. 13th, 1887, of Eandfast, Mr Maude appeared as AVoodville. He may -be said to have really commenced his career on the London stage with his engagement at the Gaiety, where on Dec. 24th, 1887, he appeared as Mondeiioo, in Frankenslein. On Jan.

17th, 1S8S, he took part in a morning performance, at the Gaiety, of Lot 40, a farce adapted from the German. On March 8th Mr Maude began a long engagement at the Vaudeville, and also the series of impersonations of old-time beaux in which he has especially distinguished himself. He appeared as Lord Fellamar, iu Joseph's Sweetheart. In the "tentative production, at the Criterion, on Nov. 27th, of The Widow Winsom, Mr Maude was the Captain Dearlore.

He played Charles Farlow, in That Doctor Cupid, produced at the Vaudeville on Jan. 14th, 1889, Charles Spangle, in Angelina, produced at the same theatre on May tith, and John Hackabout, in The Old Home, pioduced at the same theatre on June 19th. In Man 'and the Woman, tentatively produced at the Criterion on Dec. 19th, Mr Maude was the Philip O'Mara. He appeared as Mr Solmes, in Clarissa, produced at the Vaudeville on Feb.

Cth, 1800, and as Lory, in Alius Tomho'i, produced there on March 20th. Meantime, on March 3th. he had assisted in the tentative production at the Vaudeville of Meadoic Siceet. Mr Maude played Henry Chettle, in Kit Marlowe, produced at the Shaftesbury Theatre, on July 4th, and Cool, in a revival of London Assurance at the Criterion on Nov. 27th.

He appeared as Cunninghame, iu Twelve Points of the Law, at the Criterion on March 12th, 1891. Mr Maude was the Sir BeDjamin Backbite in the Criterion revival of School for Scandal, on April 1st. In the single performance of Richard Savage at the Criterion on April 16th he played Sir Richard Steele. "When Handfast was revived "at the Shaftesbury on May 16th, Mr Maude resumed his old part of Woodville. On Nov.

27th he joined Mr Henry Arthur Jones's company at the Avenue Theatre, taking up the part of Palsom, in The Crusaders, and subsequently, on Jan. 30th, 1892, -appearing as Juxon Prall, in the revival of Judah at the same theatre. In Happy Returns, produced at the Vaudeville on Marcli 1st, Mr Maude played Mr Horace Diprose. He went to the Criterion on April 30th to assume the character of the Duke of May-fair, in The Fringe of Society. At this theatre, on June Sth, he played Desmaret, in a morning performance of Flat and Passion.

He was the "William Woodcock, in A Lucky Dog, first played at the Strand on July 4th. In the autumn he joined Mrs Langtry for her season at the Kaymarket, appearing as Baron Knot, in The Queen of Manoa, produced on Sept. 15th, as Grahame M'Farlaue, iu Agatha Tyldcn, produced on Oct. 18th and as Mr Justice Gyves, in The Burglar and the Judge, produced o.i Nov. 5th.

Mr Maude appeared, daring 1893, in The County Councillor, produced at the Trafalgar-square Theatre after a morning performance on Feb. 4th; in An Underground Journey, produced at the Comedy Theatre on Feb. 9th iu The Babble Shop, parody, produced at the Trafalgar-square Theatre on March 30th iu The Great Unpaid, produced at the same theatre on May 9th, and in Soviing the Wind, produced at the Comedy Theatre on Sept. 30th. He is now appearing in Dick Sheridan, first plaved at the Comedy on Feb.

3d. MISS MARIE LINDEN. Miss Marie Linden, who plays Louise, in Frou-Frou, to-day, made her first appearance as a child in pantomime. She was a member of the Philharmonic company in its theatrical days but her first engagement of importance was with Mr Toole, at wiiose theatre she appeared, notably in Stagcdora, a burlesque of Fedora, produced on March 0th, 18S3 as Almi-ida, in Raw Claudian, produced on Feb. 4th, Alice Marshal, in The Butler, produced on Dec.

6th, 18S6 as Rosy, in Ruddy-George, a skit on Gilbert and Sullivan, produced on April 17th, 1S87; and as Dora, in The Don, produced on Marcli 7th, 1888. Miss Marie Linden appeared in the burlesque Atalanta, producedat the Strand on Nov. 17th of that year. She was the Lady Jessie Harborough, in the tentative production of The Bookrnaker at Terry's Theatre on March 19th, 1S89, and on March 20th the Mrs Dick Chetwynd, in a performance of Young Mrs Winthrop at the same theatre. On July 29th she appeared as Lily Doran, in the production of In Danger at the Vaudeville.

She took part in Miss Loie Fuller's production of Caprice at the Globe on Oct. 22d, and aiso in the revival of The Field of the Cloth of Gold, at trie Avenue, on Dec. 24th. hen Mr Alexander pro duced Doctor Bill at the Avenue on Feb. 1st, 1890, Miss Mane linden was the Ellen, bue plaved Janik, The Grandsirc, produced there on May 21st.

On Sept. 29th Miss Linden went to Terry's Theatre to play Minnie, in a revival of Sweet Lavender. Iu Private Inquiry, produced at the Strand on Jan. 7th, 1891, Miss Marie Linden was the Mrs Wrackham. She went to the Garrick to appear as Margaret Veale, in the production of Lady Bountiful, on March 7th.

In The Prince and the Pauper, produced at the Vaudeville on Oct. 12th, she appeared as Princess Elizabeth and she took part in a performance of The Light of Penarth at the Opera Comique on Dec. 17th. On May 28th, 1S92, Miss Linden appeared as Hilda, in Mrs Bernard Wishaw's play of that name, produced at the Princess's. She was a member of Mrs Langtry 's company at the Haymarket, playing Dorothy Blair, in The Queen of Manoa, produced on Sept.

15th, and Winifred March, in Agatha Tylden, produced on Oct. 18th. MR CECIL MORTON YORK. Mr Cecil Morton York, who is now on tour with the Kendals in America, is the son of a doctor, and was )orn at Chiswick in 1804. It was intended that he should adopt his father's calling; but he chose to become an actor, acquiring a useful experience of the stage in the stock company at Plymouth.

Then for three years he was a member of the Beatrice companj-. Mr York was with the Bancrofts during their last season of management at the Haymarket, in 1885. In hSSO Mr York supported Mrs Bernard Beere on tour in Fedora and Masks and Faces. He was with Miss Kate Vaughan during her season of old comedy at the Opera Comique in the spring of 18S7, appearing meanwhile at the Princess's, on April 20th, as Folko, in a morning performance of The Witch, and at the Vaudeville, on May 27th, in a morning performance of After All. In the autumn Mr York joined Mrs Brown-Potter at the Gaiety, appearing as Count di Luna, in Loyal Love.

Ho was the King of Naples in the performance of Evadue at the St. James's Theatre on Nov. 39th. A tour with Harbour Lights, under the direction of the Gattis, followed. Then Mr York joined Miss Mary Anderson's company, appearing notably as Beauseant and Florizel.

He was with Miss Anderson in America when ill-health determined her, in the spring of 1S89, to bring her career on the stage to an abrupt termination. Returning to England, Mr York took part in Miss Grace ilawthorne's production of Theodora, at the Princess's Theatre, on May 5th, 1890. Mr Y'ork appeared on tour in New Ztmm for Old, and on Jan. 13th, 1891, played Luke Cranbourne, in a revival of Woodbarroa Farm, at the Vaudwillp With Miss Pnrfe -tour, he appeared as Lord Jura, in Moths, and Master alter, in The Lore-Chase. It is now nearly two vears smce the Kendals engaged Mr York, his notable yjer- lormances under their management having been Victor De Riel, in Impulse, the Due De Blignv, in The Iron-master, and Captain Tempest, in A White Lie.

He took part the original productions, the English of Prince Karatolf and The Senator's Wife. performance was every way a success. Mr Samaty gave an excellent interpretation of Paillasse the Nedda ot Madame Vaillant-Couturier was a charming performance Tonio was capitally rendered by Mr Barbe Peppe was ably acted and well sung by Mr Desler and Silvio had a stalwart and manly representative in Mr De Bock. The work was well mounted and the orchestra excellent. Paillasse was preceded by the comic operetta Let Noees de Jeannette, written by MM.

Jules Barbier and Michel Carre, the music by Victor Masse. Madame Hervey made a charming Jeannette. The role of Jean was humorously rendered by Mr Azema. Mdlle. Josset the rule of Petit Pierre had little opportunity.

From my remarks last week about touring in Holland it will be seen that the average price per seat is about a guilder one and eightpence. In many cases, however, when good French and German companies tour here, the ordinary prices are raised, the first seats selling at Fl. (guilders) 2'50, or 4s. instead of the usual Fl.1-75 in some cases F1.3 and Fl.3'50. This may serve to guide entrepreneurs to whom otherwise the values of the various houses might not seem attractive enough.

I may explain that a guilder is composed of a hundred cents, is equal to Is. twelve to the and the symbol for it is Fl. (florin). ROTTERDAM, March 14. Lotos, a play, in three acts, by Madame M.

Snyder Van Wissenkerke, was revived at the Tivoli Theatre, on March 11th, with the following cast Cecile Emmering, Mrs A. Rbssing-Sablairolles Lieut. Benthof, Mr W. C. Rovaards Baron Johan van Reyde, Mr J.

C. De Vos Mrs Benthof, Mrs L. Van Korlaar Freule Eva van Barrevort, Mrs G. Poolman Alida Park, Miss Sasbaeh Dr. Perelberg, Mr D.

Holkers Mrs Hoogers, Mrs Van esterhoven Anna, Miss E. Snyders. Lotos is a play of considerable literary merit by a well-known Dutch authoress, and is written with a delicate and skilful hand. The scene is laid in the Hague. Leonard Benthof, an officer in the Dutch army, is engaged to a beautiful and accomplished girl, but on the eve of their marriage the latter suddenly becomes insane.

Three years have already elapsed since tht3 tragic stroke when the curtain rises, and during this period Matilda Van Reyde has been an inmate of a private asylum. Even her family are hopeless of her recovery, and wish to give the Lieutenant his freedom. Time has in some measure tempered the severity of the latter's grief, and he permits his affections to be engaged afresh. The object of his second attachment is Cecile Emmering, Lotos," as Benthof affectionately calls her on seeing her all in white, in allusion to the pretty fable concerning the origin of this flower. But he dares not ask her to marry him he does not feel sure enough of himself, and is alternately swayed by hope and dread.

He has no peace of mind, and to end his dilemma resolves to get transferred to the Indian service, away from the scenes that recall so much that is bitter and yet sweet to his remembrance. Lotos learns of this from a friend, and goes the same night, ere it is too late, to Benthof's quarters, and by dwelling upon their mutual affection, induces him to tear up the letter addressed to the Minister of War. In the last act we learn that Matilda is slowly recovering her reason, and by a cruel irony Lotos is the first person outside the family who learns the "happy" news from the doctor, who is ignorant of her betrothal to the Lieutenant, who comes to pay her a visit. Lotos relates the news, and by the lieutenant's involuntary expressions of joy and tenderness she perceives that his heart is still with his first love. When he departs Lotos, who has a sensitive, poetic nature, strews her couch with flowers, and, taking an overdose of chloral, dies, so as not to stand in the way of the happiness of the others.

Lotos is written in charming style, and is skilfully constructed. It is essentially a two-part play, and holds the attention from the first line to the last. It contains nothing superfluous or irrelevant, and is played in an hour and a-half. Madame Rossing-Sablairolles in the title-role made a praiseworthy display of passionate emotion and Mr W. C.

Royaards's Lieutenant Benthof was an earnest and convincing performance. Last Friday Messrs Legras and Haspels' company gave a successful performance of Adolf L'Arronge's celebrated comedy Dokter Glaus, translated from the German by Soranus. The roles of Julie and Max van Gronden, the young married couple whose estrangement and reconciliation make the play, were adequately filled by Madame Van Eysden-Vinkand Mr F. Tartaud. Mr Rosier Faassen ably sustained the part of Leopold Griesinger, Julie's father, and Mr Henri de Vries gave evidence of his versatility in a clever character study as Lubowski, the doctor's coachman.

Lubowski is a genius in his way. His leisure during the doctor's absence he employs in studying medicine, and holds more or less learned discourses thereon for the benefit of the housekeeper and maidservants. The scene where the peasant Behrmann arrives after consulting hours, and finds only Lubowski at home, poring over his books, is very amusing. The peasant, admirably portrayed by Mr Victor Faassen, mistakes the servant for the master. He complains of general seediness and loss of appetite he is only able to dispose of a dishful of potatoes and a couple of pounds of steak at dinner, and feels anxious lest his complaint should develop into something serious.

Lubowski consults his book, and gives the peasant a dose of some evil-smelling concoction that almost makes the man believe that his indisposition is the lesser of two evils. Lubowski accepts a so-called shilling "so-called" is his constantly recurring phrase, from the "so-called" angina pectoris to a so-called maiden from his first patient, and informs him that he is always to be consulted "after" four o'clock. On the doctor's return Lubowski asks him if half a glassful is enough for a strong man. Enough for a strong horse replies the doctor. Good heavens and I gave him a glassful As his patient does not return the amateur doctor imagines he has killed him, and is haunted by dozens of peasants, all replicas of the original one, who give him no peace by night nor by day.

When, therefore, he meets Behrmann in the country, Lubowski falls on his knees in terror, imploring mercy of the shade, whom he imagines to have returned to take vengeance upon him. But, quickly discovering the reality and solidity of the apparition, the pair go oif arm in arm to "liquidate" the "so-called" shilling, which Lubowski had not dared to spend. ON Saturday last The Goldfish was put in the bill at the Tivoli Theatre, and attracted an appreciative audience. On Sunday the company of the Theatre Royal Frangais de la Haye gave Le Capitaine Noir again at the Groote Schouwburg, with the same cast as before. At the Van Lier Theatre Dumas' Henri III.

was in the bill on Sunday evening. On Monday the celebrated Amsterdam A Capella-Koor," i.e., choir without accompaniment, paid Rotterdam a visit, and gave the Pernio Domini Nostri Jesu Chrisli of Jacob Obrecht (1500). This choir has been very successful in all the principal Continental cities, and will shortly visit Bondon. On Tuesday, at the Groote Schouwburs. Messrs Legras and Haspels' company gave Georges Ohnet's La vomtcsse Sarali.

JLhe work was excellently staged and was smoothly played. Madame Van Eysden-Vink, the title-role, was at her best, and made a decided hit. Presentation. On Saturday last, at the conclusion of a remarkably successful twelve nights' engagement of The Babes in the Wood at the Victoria Opera House, Burnley. Mr Collingwood presented Mr W.

C. Horner, the managing director, with a handsome pencil case as a small token of esteem and admiration for his able management and general courtesy. Presentation. Miss Dorothy Gerard, who has now entered upon her fifth year of engagement with the Leopolds' Frivolity company, was, at the termination of the performance at Leeds on Saturday last, presented with a diamond and sapphire ring. oriuge, xray wnat; is your lavourite occupation?" sh would say "Dancing." Suppose one proceeded, "it you were not dancing, what would you prefer as alternative then assuredly Miss Lethbridge would say, "If you please, I would like to watch somebudy else dance "which she would do with the most friendly appreciation of whatever seemed good.

She devoted a spare evening recently to watching a ballet, and declares that she was rendered perfect) indignant by the apathy of the audience when a brilliant Italian dancer completed a most diificuh solo. She felt as though she would like to have ghvu them "a good talking to." But, all the same, Lethbridge does not greatly admire the Italian school of dancing. She thinks that training carried to excess has the effect of making one somewhat mechanical. Her ideal of good dancing is perfect spontaneity. Miss Lethbridge was devoted to the career of a dancer in her childhood.

She had barely-reached her teens when the process of tuition, under Mr John D'Auban, began, and in the meantime she has not had a lesson from any other teacher. It is Mr D'Auban who invents all my dances," says Miss Lethbridge, and teaches me how to execute them. I have heard of people arranging dances for themselves, and working them out before a mirror but I think that can never be a satisfactory process. You see, an experienced teacher knows so well what one step is capable of developing. When I went out to Australia, where, you know, I have been for the better part of two years, I took with me a repertory of a dozen dances that Mr D'Auban had arranged, and I took good care to let the Australians see all those before I began to improvise.

Did the audience detect any difference Well, I can hardly say. Australian audiences are delightfully appreciative but I do think that as a rule an audience does not discern the technical excellences of dancing. If you are able to manipulate a dance in such a way as to convey to the onlooker the impression of prettiness you are all right." And how did you come to make your first appearance as a dancer, Miss With a juvenile troupe organised by Mr D'Auban. My first proper engagement was in a revival of Rip Van Winkle at the Comedy, when I had to do a kind of clog dance. I shall never forget it.

My poor knees knocked together, and I felt sure I was going to drop. But I got through the dance, and there was great applause. I was pushed on again, to do an encore, and I was so deeply versed in the ways of the profession at that time that I went right through the exhausting dance again. The result was that when I got to the wings I fell in a faint and cut my arm. See, here's the scar.

A pleasant memento, is it not I got quite into the habit of fainting, and the doctors pretended a lot of anxietv on mv behalf that I have never felt myself." Do you diet yourself specially, Miss Lethbridge "No; one ought to eat things" easy of digestion, of course. 1 dine very early, and do not drmk much tea. During the performance I take nothing. I was advised to try soup, but it was awful to think of dancing afterwards. After all, one is at work such a short time.

I like to have a real part to play. In Little Christopher I merely have to dance twice so that 1 am on the stage exactly four minutes. A dance takes on the average no more than a minute and a-half, or two minutes including an encore. I suppose it seems a great deal longer from the front. Then, of course, one spends a terribly long time dressing." Wnat happened to you after your debut in Rip Van Winkle, Miss Lethbridge "Oh, I went straight away to fulfil an engagement in a provincial pantomime, and then, when I returned to London, I accepted a position in the Gaiety chorus that was in the days of The Vicar of Wideawukcficld.

What made me do that? Nothing else turned up, and so I thought it better than idleness. Yes, a great deal better than idleness. I cannot bear being unoccupied indeed, they tell me that I live on excitement. I am afraid, don't you know, that ou will find my career dreadfully uninteresting. I appeared as Paquita, in Mynheer Jan, produced fu st at Birmingham, and then at the Comedy Theatre, in the spring of 1S87.

That was a very good engagement for me I suppose the first really good engagement I ever had. The following year I appeared in Carina, at the Opera Comique, and the year after that in La Prima Donna at the Avenue. During 1890 I went on tour with Sir Augustus Harris's Venus company. We began the tour at the Grand Theatre, Islington. Afterwards I went to the Opera Comique, to play the Duchesse D'Alencon in Joan of Are.

In the spring of 1802 I went to the Gaiety, and appeared in Cinder-Ellen. Then I went to Australia, where I have been ever since. There, sir, you have my whole history. Now I wonder whatever else I can tell you One hears a great deal of the dreadful discipline that a dancer has to go through, Miss Lethbridge. Tell me, is it all true?" "Oh, Ineverwas 'turned if that is what you mean.

Mr D'Auban always said it was natural to me to dance. I learn a new dance in as short a time as half an hour. When I settled my present engagement at the Lyric Sir Sedger wanted me-to begin the same evening. I'm sure you can manage said he, 'and the dress you have on will do very I dance, of course, iu a perfectly modern costume. But it seemed uncomfortable, don't you know, to go on the stage in a frock one wore out of doors.

Besides, they were very particular that the music should be Mr Caryll's, so I could not reintroduce an old dance. All things considered, I stipulated for a few days' preparation and practice before I made my reappearance in London." I suppose, Miss Lethbridge, you are aperfect martyr to your art, devoting the long, lonely hours of the day to practice and rest?" "Indeed I don't. I practice very little, once I have mastered a new dance I almost confine myself to trying over a dance at the wings before I go on the stage. If I moped at home all day I should be fit for nothing at night so I go out and enjoy the society of my friends, just as any other human being would." "And does your passion for dancing still pursue you when you are not professionally engaged in the exposition of the art?" "Do you mean parties and balls? You know they always say that a stage dancer never can dance fit to be seen at a private function. For my own part I cannot say much.

I have only been to a ball twice iu my life. It seems such a tiresome thing to have to dress and set to work anew, after all the hard work of the evening. Have I ever danced in the Italian manner? Now just picture long, thin Alice Lethbridge in ballet skirts." By way of apology, the abashed interrogator reminds Miss Lethbridge that Taglioni was long and thin and did not wear ballet skirts and then asks Miss Lethbridge whether, by way of contrast, she has ever tried the costume of the other sex. "Once," site says, "when, in The Commodore, I had to dance a hornpipe. But I did not like it, and quickly reverted to my accustomed attire.

You know I went to America with The Commodore for a seven months' tour which only lasted seven weeks." Bliss Lethbridge proceeds to state that she has danced all sorts of dances except the Eastern variety, which she has not yet added to her repertory. And I suppose, Miss Lethbridge," one says in his ignorance, "you take no end of trouble to acquire the characteristics of different nationalities a. little trip to Spain to pick up the fandango, and so forth." Indeed, no," says Miss Lethbridge, with wide-open eves, "you just go to Mr D'Auban." The visit to Australia proved to be a most delightful experience, and recuperative. The lady's only objection to that salubrious continent is that one occasionally has an experience oi ail a.e seasons spring, summer, autumn, and winter in a single day. Australian papers will please copy with the view of bringing about a rearrangement of the climate, for Miss Lethbridge declares she will revisit the appreciative colony.

The run of Robinson Crusoe at Drury-Iane Theatre came to a close on Saturday last. As the magnificent series of pageants illustrating the History of England from the Conquest ended with the appearance of the representatives of Queen Victoria and the Royal Family, and with the performance of the National Anthem, footmen hrought forward a table covered with glistening silver plate. This, Mr Herbert Campbell, having discarded the burlesque attire of Will Atkins for evening dress, informed the audience, was a token of the regard felt for Sir Augustus Harris by the whole of the Drury-lane company. Sir Augustus Harris was warmly cheered on advancing to the table. Addressing him as our dear guv'nor," Mr Campbell asked him to accept the gift of 300oz.

of plate, mostly of antique pattern. Miss Ada Blanche read the following testimonial Sir, We, the company and staff engaged in the pantomime of Jiobinson Crusoe, oiler you, through this testimonial, our sincere congratulations on your happy recovery from a long and painful illness. We also beg your acceptance of the accompanying piece of plate in commemoration of your fifteenth successful pantomime at Drury-lane Theatre, and we sincerely hope you may live long to enjoy the esteem in which you are held by the subscribers hereto, and we trust you may be as successful in the future as you have been in the past. The handsome gift was supplemented by a horseshoe of violets from the orchestra, and the company on the stage insisted upon singing For he's a jolly good fellow," and upon giving hearty cheers, first for the manager, then for Lady Harris, and then for "little Miss Harris." Sir Augustus, in reply, spoke as follows "Ladies and gentlemen, I can assure you words fail me to express all that I feel for the kindness I have received and for this mark of friendship from those whom I have the honour and pleasure of being associated with. This, as you know from what Mr Campbell has just told you, is the last night of the fifteenth pantomime at this theatre that I have produced, and I am glad to be able to confirm what has already reached you through the Press, that the doom of Drury-lane has not come just yet, for the Duke of Bedford has most kindly promised me, and has sent me the papers for, another lease.

Therefore I hope for another seven years to be still your dutiful servant in the future as I have endeavoured to be in the past. We hear a great deal of the duties of a manager my one idea is that the manager must be the servant of the public. He must cater for those whom he wishes to support him, and if sometimes an entertainment does not appeal to one set it will appeal to another iu fact, occasionally we have to produce one play to subsidise another, for you must remember that in the United Kingdom we have no subsidies, as they have abroad, for producing big works and musical entertainments and such like. I must say that the public have treated me during the past fifteen years with the greatest kindness and the greatest generosity. Whatever my faults, they have been most kind arid encouraging to me, and it makes me hope that in the future I may still succeed in pleasing them.

Even on a joyous occasion such as the present, it is impossible not to remember the sad loss I had last December, when my partner in so many successes left us I mean my good friend Henry Pettitt. But every place has to be filled up, and in the autumn if I can come to terms with the company of proprietors of the theatre for the time intervening between July 31st, when the lease terminates, and Dec. 25th, when my fresh lease commences, I trust I shall be able to give you a drama which we will endeavour to make as acceptable to you as any in the past. Mr Henry Hamilton, who has already collaborated with me for two seasons on this stage, and Mr Cecil Raleigh, who you also know, and myself, will make the triumvirate. I trust that next year I shall also be able to give you another pantomime which shall be as good as any that have gone before.

I propose to oif er you that delightful subject which I hope to make a dream of Far Cathay, and which shall live in your memories as a work of artistic triumph. I again thank you, ladies and gentlemen, for your kindness and forbearance." Loud cheering was followed by the singing of Auld Lang Syne," in which the audience joined, as the curtain descended. Miss Nellie Harris (Mrs Horace Sedger) was presented by the company with a handsome dressing-case. "A MAN OP THE WORLD." An Original Drama, in Four Acts, bv Louis B. Goldman, Played for the First Time at the Public Hall, Ti-eharris, on Wednesday, March 7th, 1S94.

Jaeoh Durell Mr Reginald Garland Simon Wylie Mr W. W. Clarkk Percy Koystonl Mr Frank Gilbert Dean Featherstonehausrh Mr L. B. Goluman Dave Marsh Mr Ernest Wintour Grimston Mr Johnson Jarvis Mr Harvey Duker Miss Doris Easton Mrs Durell Miss Flora Lintos Helen Durell Miss Mabel Lux.more Mary Aylmer Miss Ethel Lynton The hero of Mr Louis B.

Goldman's piece is Percy Royston, foreman at the works of Mr Jacob Durell, a hard-hearted employer, who has a fit tool in his manager, Simon Wylie. Angered by Durell's harshness, the workmen rise and riot. Royston, for the sake of Helen, Durell's supposed daughter, protects the hated employer from the fury of the mob. Insulted by Wylie, who also loves Helen, Royston strikes him, and is dismissed from his situation. In the second act Wylie is chased by a mob of rioters, who attack Durell's house.

Royston and his friend, Dave Marsh, arrive and protect the ladies. Wylie draws a pistol, and is about to use it, when Dave Marsh knocks him down. Royston, who has discovered an improved method of making steel, proposes to let Durell have two-thirds of the profits of the patent if he will agree to his Royston's) union with Helen. Wylie, who knows that Helen is not Durell's daughter, and that he has embezzled her fortune, demands the girl's hand, threatening to expose Durell if he refuses his consent. The manufacturer knocks the manager senseless, and puts him into an iron safe.

Royston next appearing, Durell and two accomplices thrust him into a sack, whence he is released in their absence by Dave Marsh, who substitutes the senseless Wylie, who is carried off to the ship which was to have taken Royston away to sea. In the last act Durell's villainies are unmasked, he promises amendment of his treatment of his workmen, and Royston and Helen are united. Mr Frank Gilbert played Rovston well. Mr Reginald Garland was good as Jacob Durell, Mr W. W.

Clarke gave a graphic portraiture of Wvlie, and Mr Ernest Wintour worked hard as Dave Marsh. Miss Mabel Luxmore was excellent as Helen, and other parts were creditably performed by competent artists. cogwheels, moving bands, dye-pots, and lift, is alone worth a visit to the Adelphi Theatre. For this triumph of realistic reproduction, as well as for the beautiful rural scenes, Mr Bruce bmith is responsible, and deserves to be heartily commended. There is not much to choose, indeed, between the lovely Nightingales' Nest in the second act and the pretty "ruined tower scene in the fourth.

Each is, in its way, entirely excellent. The cast was a strong and well -selected one. Messrs Gatti had not been afraid of an infusion of comparatively young blood, and the result was a freshness and spirit in the performance which were very agreeable. Not that old favourites were wanting. To Mr Charles Warner, brisk and buoyant as ever, was entrusted the character of Jack Osborn.

In the first act his love scenes with Hetty Drayson had many light and happy traits but, after that, it was all hard, earnest, energetic work. Very tender and touching was Jack's pity of the erring Elsie in the second act of the play cheerful and spirited was his chat with De Fonseca and Stockley iu the office scene; and intense, thrilling, and powerful was Mr Warner's appeal to the mob at the end of this second act. But the culminating point of his admirable embodiment was reached in the third. The description of the fire in the mad-house and Osborn's escape was delivered by Mr Warner superbly, and brought down the house irresistibly. The part seemed to have been written for Mr Warner, so exactly was it suited to his style and scope.

Mr Edward O'Neill's Richard Stockley was the acme of sneaking, heartless villainy. There was not room for one grain of sympathy with this cold-blooded, creeping, remorseless scoundrel and if securing the utter detestation and abhorrence of the audience was the aim of the author and the actor, this performance of Richard Stockley by Mr O'Neill may be said to have attained thorough and complete success. There was a polish, too, about the rascal, as represented by this young but very promising actor, which added greatly to the general effect of his embodiment. Mr Herbert Flem-ming's De Fonseca pleased us by its sturdy simplicity and straightforward manliness. There was no chance of effect-making here, and Mr Flemminsr wisely refrained irom restlessness and exaggeration.

Mr Charles Cart-wright's Shillinglaw rose far above the melodramatic level and, in the third act, came near to the domain of tragedy. The agonising struggle in the besotted, but not entirely debased, workman's soul was depicted by Mr Cartwright with splendid depth and power. The whole house was hushed as the spirits of good and evil were seen struggling for mastery in Sbillinglaw's breast and when the good angel conquered, the audience burst into a spontaneous round of applause. Mr Arthur Williams was as funny as could be imagined as Benjamin Tupper, and the speeches of that eccentric individual were made doubly droll by Mr imams quaiutuess and originality. A bit of acting which amused everybody was Mr Lennox Pawle's llev.

Mr Ponder. There was something so unusually odd in the appearance of the player that everyone was amused by the gallant little parson. Mr Lyston Lyle was firmly efficient as Dr. Gilbert, and Mr John Carter gave a well-balanced and.