e and murder, was "The Fugitive," by Tom
Craven, which had a very brief run at the Windsor.

Vivacious Nelly Farren and the London Gaiety Company, which recently
held the boards of the Standard Theatre in "Monte Christo, jr.," gave
New Yorkers an enlivening taste of English burlesque. The play is
nothing, the dancing everything.

The German opera season is well under way. The Metropolitan Opera
House opened with "The Huguenots," which was followed by "William
Tell" and "Fidelio." Herr Anton Seidl, with his unrivalled orchestra,
makes these productions of the great German and Italian composers a
yearly treat to lovers of music, which is looked forward to with
eagerness and parted from with regret.

"The Old Homestead" holds its own at the Academy of Music; the "Brass
Monkey" at the Bijou has had a longer run than it deserves; Clara
Morris has been appearing in Brooklyn; Louis James and Marie
Wainwright are beginning their New York engagement. "She" was
pronounced a great success in Boston, over $1600 being taken in at one
performance. Mr. Boucicault is conducting his Madison Square
theatre-school of acting with patience and confidence, although the
results thus far are not very promising. Of the eighty pupils, the men
are awkward and the women lack talent. However, as Mr. Boucicault
said, if but three or even one out of the eighty should come to
dramatic eminence, it would be well worth all the trouble.

Our German fellow-citizens are to be congratulated on the opening of
Mr. Amberg's new theatre in Fifteenth Street. The location is central,
the house is well built, the company good, and the repertory includes
drama, comedy, farce, and comic opera.

There have not been many dramatic events abroad this season. The new
Shaftesbury Theatre in London is possessed of such a wonderful
fire-proof curtain that a few weeks ago the audience had to be
dismissed because they could not raise it. "Captain Swift" proved a
great success, financially, at the Haymarket, and "Nadjy" is
attracting crowds at the Avenue Theatre. At Terry's, "Dream Faces," a
one-act play, and "The Policeman," a three-act farce, had good houses.
Grace Hawthorne has just had to pay a hundred pounds to the owners of
some lions. She was seeking to produce an English version of
"Theodora," and engaged a den of lions twelve months in advance of the
time she wanted them. She demurred to paying for the animals that she
had not used, but the case went against her