There was another performance in 1877 that must not be forgotten. This was on June 20th, at the Gaiety Theatre, for the benefit of Charles Lamb Kenney, who had through illness lasting over a considerable time been unable to ply his facile pen. "The School for Scandal" was the _pièce de résistance_, and it was then that Ellen Terry appeared for the first time as Lady Teazle. Charles Kelly was the Sir Peter; Henry Neville, Charles Surface; and John Clayton, Joseph Surface. By those who remember the prodigiously long run of Sheridan's masterpiece at the Vaudeville Theatre, the last mentioned performances of the admirably contrasted brothers will ever be borne in appreciative memory. Mrs. Arthur Stirling was the Mrs. Candour; and Mrs. Alfred Mellon the Lady Sneerwell. As may be imagined Ellen Terry played Lady Teazle with winsome high spirits in the earlier acts, and plaintive remorse in the great screen scene. John Hare's next venture at the Court Theatre was not successful. In spite of the care lavished upon its production, and of much clever acting on the part of the company, Tom Taylor's comedy "Victims," originally presented at the Haymarket in 1857, failed to attract audiences in 1878, and was speedily withdrawn. Withdrawn, it may be unhesitatingly said, in favour of his greatest managerial success--the stage version by W. G. Wills of Oliver Goldsmith's immortal story "The Vicar of Wakefield," entitled "Olivia." John Hare suggested the subject to Wills, and it was at once seized with the characteristic avidity of a prolific and graceful writer. No one who knew that unquestionable, but all too kindly and erratic, genius will be surprised to hear that the first draft of the play was for stage purposes impossible. It was made up of scenes of great beauty hopelessly choked with vast quantities of irrelevant matter. It was not consecutively written, but was jotted down at random in untidy copy-books, on the backs of used envelopes, chance scraps of paper, and even on the eager but unmethodical author's wristbands. At one time the task of bringing all this heterogeneous matter into workmanlike form seemed to be a hopeless one, but with full faith in his project and his author, John Hare was not to be baffled. Night after night the two sat up together, and the play was re-constructed and re-written in accordance with the practical managerial views. When it was at last completed the dramatist prudently withdrew from the scene. W. G. Wills had no interest in or talent for stage management, and he wisely left the production in the experienced hands of John Hare, only attending the perfected rehearsal on the eve of the first performance.