r it may be two, in the cast.

Let us tell briefly the story of one failure of the year. A play of some
merit was shown to a popular actor, who suggested that if certain
changes were made in it he would recommend it to his syndicate. The
changes were suggested comprehensively under the phrase "If you can
strengthen my part."

The part was strengthened--that is to say, other parts were weakened,
speeches were taken from them and given to the hero, scenes for minor
characters were excised or shortened, and the star was dragged into the
finale of the second act at great sacrifice of plausibility. The play
was then recommended.

It happened that the star had just separated from the leading lady who
generally appeared with him, so the syndicate was free in choice of a
heroine. Three names were suggested. It was admitted that two of the
actresses were more suitable than the third, who, however, had a
"backer" willing to put money into the venture. The money prevailed and
the lady was chosen. She promptly insisted upon having her part
strengthened, so the play was remutilated till her wishes were complied
with. Is it surprising that when it was produced the critics fell foul
of it and denounced the faults due to these transactions, or amazing
that it did not run long?

This is by no means an isolated case: there has been one comedy given
this year, the last act of which was blamed by everybody. Why? Because
the star, who was not the chief figure in it as the play was written,
insisted upon his prerogatives, therefore the part of the second actor
in the cast was cut down to next to nothing and a big irrelevant scene
was introduced for the star, in which he uttered some of the speeches
taken from the second actor's part. To think of a work of art being
submitted to such treatment! It is difficult to emphasize it by a
parallel. One might ask what would be the result if a painter were to
attempt to convert a purely imaginative picture into a portrait, and, in
addition to altering the face and the lines of the figures, were to put
in a number of accessories to please the patron's taste, and also to
accept suggestions from the sitter as to changes in the colour-scheme.

Now, it may be asserted confidently that a number of the plays produced
this year have undergone the process of being altered to please
managers, actor-managers, star players and syndicates. In addition a
good many have been written from the start with a view of