difference is that Peter's permanent nucleus are
neither so individually agreeable nor in any true sense enthusiasts of
the drama. Indeed, being painted on the proscenium, with their backs to
the stage, the effect they produce is one of studied indifference. Nay
more, a horrible suspicion about them refused to be banished from my
thoughts; it was based partly upon the costumes of the ladies, partly on
the undeniably Teutonic suggestion in the gentlemen's uniforms. However,
I said nothing about this to Peter.

Despite the presence of these unpleasing persons, the opening
performance must be pronounced a real success. Perhaps more as a
spectacle than anything else. Scenically the show was a triumph; the
memory of the Forest Glade especially will remain with me for weeks by
reason of the stiff neck I got from contorting myself under Peter's
guidance to the proper angle for its appreciation. But histrionically it
must be confessed that things dragged a little. Perhaps this was due to
a certain severity, not to say baldness, in the dialogue as spoken. Not
having read the script, I have a feeling that it might be unfair to
judge the unknown author by the lines as rendered by Peter, who was
often pre-occupied with other anxieties. As, for example, the scene in
the Baronial Castle between its noble but unscrupulous proprietor and a
character introduced by Peter with the simple notice: "This is a
murderer coming on now."

_Baron._ Oh, are you a murderer?

_Murderer._ Yes.

_Bar._ Oh, well, you've got to murder the Princess.

_Murd._ All right.

_Bar._ That's all of that scene.

Crisp, of course, and to the point; but I feel sure that there must have
been more in the interview as originally written.

Perhaps, again, the cast was to blame for whatever may have been
disappointing in the performance. Individually they were a fine company,
passionate and wiry of gesture, and full of energy. Indeed their chief
fault sprang from an incapacity to remain motionless in repose. This led
to a notable lack of balance. However sensational it may be for the exit
of every character to bring down the house, its effect is unfortunately
to retard the action of the piece.

Personally I consider that the women were the worst offenders. Take the
heroine, for example. Lovely she may have been, though in a style more
appreciated by the late GEORGE CRUIKSHANK than by myself; but looks are
not everything. Art simply didn't exist for her. Revu