custom of equal rights to stand, and move _en queue_, it would not be possible to admit and seat the audience in the interval between the opening of the doors and the commencement of the performance. Thus the public are somewhat “hustled,” and from one cause or another too often reach their seats after having endured much annoyance with a patient submission which speaks volumes for their law-abiding nature; but which must sorely disturb that reposeful spirit which the actor may consider essential to a due enjoyment of the play. Once in his seat the American playgoer does not, as a rule, leave it until the performance is at an end. The percentage of persons who move about during the _entr’acte_ is, when compared with that in England, exceedingly small, and sinks into complete insignificance when contrasted with the exodus to the _foyer_ customary in continental theatres. In the equipment of the American theatre there is one omission which will surprise us at home—that of the bar, or refreshment room. In not a single theatre that I can call to mind in America have I found provision made for drinking. It is not by any means that the average playgoer is a teetotaler, but that, if he wishes or needs to drink during the evening, he does it as he does during the hours of his working life, and not as a necessary concomitant to the enjoyment of his leisure hours. Two other things are noticeable: first, that the audiences are sometimes very unpunctual, and to suit the audiences the managers sometimes delay beginning. The audience depend on this delay, and the consequence frequently is, that a first act is entirely disturbed by their entry; secondly, that, after the play, it is a custom, in a degree unknown in any European capital, to adjourn to various restaurants for supper.