That was a splendid time for the so-called "country" playgoer. I well recall how within one week at the Theatre Royal, Birmingham (this was in 1879), I saw Ellen Terry in her matchless rendering of Portia in "The Merchant of Venice," as Ophelia in "Hamlet," as Lady Teazle in the "School for Scandal," and as Lilian in "New Men and Old Acres." I would gladly live that week over again. In Shakespearean characters Charles Kelly was not, I think, seen at his best, but in his comedy parts he was admirable, and there is always an interest in seeing husband and wife act together. Actors and actresses love playing to ardent and sympathetic provincial audiences. Their absolutely unrestrained appreciation and applause delight them. The intent faces and eager ears, bent on losing neither a movement of the expression nor an inflection of the voice, act as a tonic to them; there is magnetism between the stage and the house, and under such conditions acting is sure to be at its best. There is nothing _blasé_ about the provincial playgoer. He pays for a play that he wants to see, and if he is pleased he expresses his gratitude in no uncertain terms. If he is disappointed he goes sadly and quietly away, but he is never rude to those who have done their best to entertain him. "Boos" and author-baiting are happily unknown in the provinces, and no doubt this is why actors of eminence are fond of exploiting new plays in the country before exposing them to the exasperating risks of a London first night. It seems astounding that people should exist who can wantonly deride the failure of anxious authors and actors, who, having honestly sought to conquer, are miserably conscious of their own defeat. No play can be depended upon until it has gone through the ordeal of a public performance. If the piece that has read well and rehearsed well fails to grip the public, the sensitive actors and author are the first to feel it, and surely in their keen disappointment they should be spared the humiliation of rowdyism. Not long ago there was a discussion as to the "rights" of first-night audiences to "boo" a new play and the performers in it. The views of leading actors and dramatists were sought, and Ellen Terry replied as follows:--