As Winnifred Grey in "A Runaway Girl"--a part in which personal charm counted for a great deal--Miss Celeste made a splendid impression largely through her ability as an actress. The music of the part was too low to show her voice to the best advantage, yet she sang the fetching "The Boy Guessed Right the Very First Time" song more effectively than any one I have ever heard. It is, of course, a simple enough ditty, which, however, demands considerable finesse, suggestive action, and a strain of humor to make it go as it should. The sentiment that she put into the second verse of the catchy little duet, "I Think 'twould Break my Heart," was exquisitely delicate and true. Except for a pretty moment at the end of the first act, there is little else than these two bits in the part, aside from an attractive monotony of brightness and happiness; and brightness and happiness, of course, are directly in the line of every musical comedy girl. Marie Celeste--her full name is Marie Celeste Martin--was born and brought up in New York City. So far as she knows, she was the first one of her family to go upon the stage. In fact, from her mother she inherited a strain of Quaker blood, which certainly would never have countenanced a theatrical career. Her mother's grandfather, however, was a Frenchman, and from him probably came her artistic temperament. He was a bit of an inventor in his way, though apparently not a very practical one, a man who dreamed of great things, but like Cotta in "The Schoenberg-Cotta Family" failed to bring them to an issue in time to reap any material benefit. Of an original turn of mind and a sanguine temperament, he experimented with many inventions from which he expected to derive fortune and fame. None of them amounted to anything, however. Marie's father died when she was a girl studying music in the New York Conservatory, and she was obliged to look about for a means whereby to earn her livelihood. For some time she had thought of the stage,--say rather idly speculated regarding it as a possibility without ever really believing that she would sometime adopt it as her life-work. Naturally, therefore, it was to the stage that she turned at this time of adversity. Her ambition was opera. She knew that she had a voice, but she also knew that she could not act. With rare foresight in one so young, she made up her mind that the first thing for her to do was to learn to act, and she pluckily took an engagement in a stock company at Halifax, Nova Scotia. That was in 1890, and her first part was Fantile, the maid in Ben Teal's melodrama, "The Great Metropolis."