Before she adopted the stage professionally, Christie MacDonald gained a little experience by taking small parts in several summer "snap" companies in her home city of Boston. Her parents were not altogether pleased at her theatrical aspirations, and even after she had been enrolled in 1892 as a member of Pauline Hall's company, she was persuaded to give up the engagement in deference to their wishes. Just at this critical point in her career, however, she chanced to meet Francis Wilson, who had "The Lion Tamer" in rehearsal. He heard her sing and liked her voice so well that he offered her a place in his company. The temptation was too strong to be resisted, and Miss MacDonald established herself under the Wilson banner. At first she was given only a small part in "The Lion Tamer," and at the same time understudied Lulu Glaser in both "The Lion Tamer" and "The Merry Monarch." The next season she played Marie, the peasant girl, in "Erminie," and during Miss Glaser's illness, Javotte. When "The Devil's Deputy" was brought out for the season of 1894-95, she created the role of Bob, the valet. She was a capital Mrs. Griggs in the pretty Sullivan opera, "The Chieftain," her singing of the topical song, "I Think there is Something in That," being especially popular. During the summer of 1896 she appeared in Boston in "The Sphinx," making a pleasing impression as Shafra. The following fall found her again with the Francis Wilson forces, playing Lucinde in "Half a King." That summer she filled another engagement in Boston as the Japanese maiden Woo Me, in the not-too-successful opera, "The Walking Delegate." It was a dainty part and charmingly done. The next season Miss MacDonald was engaged by Klaw and Erlanger for the Sousa opera, "The Bride Elect," with which she remained two seasons, and this was followed by her appearance in "The Princess Chic." CHAPTER XVI MARIE DRESSLER [Illustration: MARIE DRESSLER.] One cannot see Marie Dressler on the stage without being convinced that she is acting no one in the world but herself. Such, I believe, is the actual condition of affairs, although there are sometimes strange paradoxes in theatrical life. It would not be altogether extraordinary for the rollicking tomboy of the stage to be in private life the most retired and the most dignified person imaginable, a woman with spinster written all over her face and reeking in domesticity, with a decided fondness for tea, toast, and tidies.