ss of considerable force, as she showed us in her
production of "The Lady of the Camelias." She has the power of
repression. She is artistic, sincere and graceful. Her work in this
diffuse play proved that beyond the peradventure of a doubt, so that
her engagement at the Hudson Theater need not be unduly deplored. The
_Gloucester_ of John Blair was extremely amusing. Such a _Richard_,
the most imaginative imaginer could never have dreamed of! He played
the part as though the _Duke of Gloucester_ were an Ibsen gentleman,
battling with a dark green matinee. Mr. Loraine came from "Nancy
Stair" to "The Lady Shore," and was _Edward IV._ It would be
interesting to know which "heroine" he really preferred. The little
princes in the tower seemed to deserve their fate. They were arguments
in favor of race suicide.

Two other celestial bodies of the feminine gender, fixed for one brief
week apiece on the theatrical "concave," moved quickly in the
direction of "the road." These more or less heavenly lights were Miss
Odette Tyler and Miss Eugenie Blair, who appeared at those
kaleidoscopic theaters called "combination houses." Miss Tyler used to
be something of a Broadway "favorite"--a term that has lost a good
deal of its significance. She appeared in the little Yorkville Theater
on the highroad to One Hundred and Twenty-fifth Street, in a play of
her own, called "The Red Carnation."

No purpose would be served in analyzing this uncanny, chaotic mass,
even were it possible to do so. Miss Tyler placed herself amid French
revolutionary surroundings, and was seen as a remarkable "romantic"
French woman, with a strong American accent and an emphatic New York
manner. She fluttered through Paris in 1793, evidently convinced that
it was just as "easy" as New York in 1905. She had a caramel demeanor
and ice-cream allurements. She kittened and frivoled through the Reign
of Terror with an archness that was commendable, though somewhat
misplaced, and she let loose a lay figure labeled _Marie Antoinette_
that was designed to frame her own accomplishments.

Familiar as we are with the French revolution, used as a stage motive,
"The Red Carnation" threw such a new light upon it all, that we were a
trifle dumfounded. Miss Tyler gracefully revised it for us, and made
it appear as a somewhat gay and frolicsome time. Moreover, it had all
the modern improvements. It seemed to be steam-heated and
electric-lighted, and although _Marie Antoinette_ di