When "Becket" had run its course, and pending another great production, some revivals were given. Amongst them was Charles Reade's one-act play--"Nance Oldfield." Most of us know the pretty, imaginative story as related by Ellen Terry's early friend and mentor, Charles Reade. Mistress Nance Oldfield, it will be remembered, was one of the earliest and most popular of English actresses. She made her first appearance in 1699, and was the darling of the stage until she died in 1730, and, with nobles supporting her pall, was laid to rest in Westminster Abbey. History records of her that she was not only an admirable actress, but a good and charitable woman, and it is from this pleasant point of view that Charles Reade has limned her in his dainty little cabinet picture. In his play her mission is to cure the love that a romantic young man has conceived for her through seeing her on the stage. How, in order to do this, she converts herself from the most charming of women into a veritable "tom-boyish" hoyden, is known to all who delight in the graceful and consummate art of Ellen Terry. When she is playing this part, her vivacity and high spirits seem to know no bounds, but her winsomeness always fascinates her audiences. The little piece is ever followed with intense interest mingled with much laughter, and the only regret is that it comes to an all too early end. It lives and will live as long as Ellen Terry chooses to play it. By the way, it is on record that a descendant of the original Mistress Oldfield has said, "Anne Oldfield herself could not have played the character better." The part has also been admirably handled by Geneviève Ward. Later on, at a special performance at Daly's Theatre, Ellen Terry appeared in a short piece by George Moore and "John Oliver Hobbes," entitled "Journeys End in Lovers Meeting." It was very interesting; but the little candle soon flickered out, and the experiment only calls for passing record. No doubt, before, and certainly ever since, the days of Sir Thomas Malory and the printing by Caxton of "Morte d'Arthur," the Arthurian legends have had a fascination for English-thinking folk. The publication of Tennyson's immortal "Idylls of the King" added a new zest to the glorious old romances, and great delight was expressed when it was announced that Henry Irving and Ellen Terry were to appear as the blameless King and his beautiful Queen in a stage version of the familiar, pathetic, and very human legend of Arthur, Guinevere, and Lancelot. The project had often been mooted, and several leading dramatists had been named as likely to be entrusted with the important and difficult work, but at last the choice fell on Comyns Carr, and right well he performed his task, writing in fluent blank verse, and telling his story in the true dramatic way.