believed herself capable of taking the highest and most difficult
parts, and forthwith rushed to the nearest theatrical manager or
dramatic agent and sought a position. In the majority of instances
such young ladies had not the slightest amount of ability; besides,
experience in an amateur dramatic company was of no benefit. People
might come to an agent with the highest recommendations from stage
instructors, or actors who had taken upon themselves the task of
giving them instruction--who had spoken of them as 'promising
pupils'--and yet, when they came to go upon the stage, they did not
show the slightest degree of talent for the profession. An amateur
experience was no criterion to go by."

"When," said the dramatic agent, "I managed the tour of Mr. ----
(mentioning the name of one of our leading tragedians), I had to
select the company which was to support him. Yielding to the
solicitations of an old friend I engaged a young lady who had been
studying with Miss ----, one of the brightest stars on the American
stage. Miss ---- told me that she considered her a most promising
young woman, and had it not been that her manager had already selected
her company, she would have been glad to have had her in her own
company. She felt sure if I took her I would be pleased. I engaged
her, and was never more mistaken in my ideas in all my life. She
thought she could act, but she did not know the first principles of
acting. Offended at my plain criticisms on her efforts she went to Mr.
----, the star, and complained that she thought I was prejudiced
against her, and had been unjust and unkind. But Mr. ---- repeated,
kindly but plainly, the substance of what I had said. She had left a
good paying position to seek dramatic fame only to find dramatic
failure. At the end of the season she became convinced of the truth of
our criticisms, and quit the stage forever."

It must be stated here that the stage is largely run on what is called
the "combination" plan, and a very poor plan it is. In the old times
the theatres had what were called "stock" companies; that is, the
company was made up of a certain number of members, each member having
a particular line of "business," and keeping to that line year after
year, in the same company, which remained in the same theatre. At the
present time there are only two "stock" companies in the United
States. The great majority of theatrical enterprises are called
"combinations." In old times