cs, but it proved a great success. The resemblance between
Hermione and her daughter, which Shakespeare insists on so strongly,
gave Miss Anderson the idea of trying both parts. This plan had the
additional advantage, that the leading lady is not suppressed by being
cut out of the act in which Hermione does not appear. Her studies
abroad have undoubtedly improved "Our Mary." The coldness and
statuesqueness with which she has been reproached could not now be
discovered by the most adverse critic. She is more womanly, softer,
less angular, and more graceful. The programme at Palmer's should have
been varied so as to give the public opportunity to see her in the old
_roles_ that used to charm all beholders. One must not forget the
exquisite scenery with which this piece has been set. It was used at
the Lyceum, and, although it has been considerably cut down to fit the
smaller stage of Palmer's theatre, it is one of the best settings ever
seen in this country.

Edwin Booth and Lawrence Barrett have been doing fairly with their
Shakespearean revivals at the Fifth Avenue. There is no truth in the
report that any difference has occurred between them. They will appear
together at the Broadway Theatre next season, with better support, it
is to be hoped, than they have recently had. Miss Mina Gale, who plays
the leading female parts, however, is a promising young actress.

Agnes Booth has scored a great triumph as Mrs. Seabrook in "Captain
Swift" at the Madison Square. For painstaking attention to detail,
nicety of intonation, and powerful expression, Agnes Booth is in the
front rank of leading ladies. We have seen her in many society dramas,
and in each she has shown a charming appreciation of all the
requirements. At the Madison Square, with its cosey stage, the visitor
forgets that he is one of the audience, and feels almost like an
intruder upon a scene in a private drawing-room. The situations in
"Captain Swift" are striking. The hero, an illegitimate son of Mrs.
Seabrook, goes away in his youth to Australia, cracks a bank, and
returns after many years, unconsciously to become a rival to the
legitimate son for the affections of his cousin. The mother discovers
his identity, and discloses it to him in order to prevent the
ill-starred marriage. The mingled expression of shame, suffering, and
maternal love in Agnes Booth's face during this scene is one not soon
to be forgotten. The audience remains spellbound for a moment, the