he critics, based on a sneaking belief
that the public does not take enough interest in criticism of the drama
to read the second notice, on which, of course, the writer would have
bestowed the greater labour.

There is something very human in the belief; few of us have sufficient
self-confidence to fancy that the public does more than glance at a
notice to discover what sort of piece it deals with, and whether it was
well received, and is the sort of thing the reader wants to see; and we
fear there is only a very small percentage that pays any attention to
our finest phrases, aptest quotations, and subtlest evidence of
acquaintance with the easy aids to universal knowledge.

Indeed, we have a humiliating certainty that our friends would never get
beyond the account of the plot and the reception and remarks about
individual performers in whom they happen to take particular interest,
friendly or otherwise. Moreover, it is to be noted that the public has
come to doubt the value of the first-night receptions which we record,
the fact being incontestable that a good deal of the applause is quite
unreal.

Perhaps an advantage of the _repetition generale_ system will be that if
the managements can only persuade their friends that it is more _chic_
to be at the _repetition_ than the first performance we shall have
genuine audiences at _premieres_, whose verdict will be of real weight.

There are certain difficulties about the new system. The invitation
performance is an admirable means for the manufacture of enmities: to
classify one's friends into boxes, stalls, dress circle, etc., is no
doubt to have a delightful opportunity of snubbing people, but it is
sure to breed bitter quarrels; whilst on the other hand, to let the
guests shift for themselves creates no little trouble and imposes a very
difficult task upon the attendants. It sounds easy under such
circumstances to reserve places for the critics, but unless they come a
long time in advance they are not likely to get them.

His Fear of Libel Actions

Some while ago--it was in 1902-1903--the critics were aghast--editors,
too, perhaps. Mr Justice Ridley had permitted a jury to give L100 as
damages for libel in respect of a dramatic criticism less severe than
dozens that most of us have written: it was said that some critics
consulted their solicitors as to the best means of rendering their
property "judgment proof"--a picturesque term that comes from America.

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