In Helen Ware, America has an actress who, though her art, as so far revealed, is comparatively limited in scope, is in the very first rank of impersonators of highly-colored “character” parts and of the masterful women of modern melodrama. Her vivid gypsy girl in _The Road to Yesterday_ impressed American theatregoers when she had been on the stage a half-dozen years, and since then her work in _The Third Degree_, _The Woman_ and _Within The Law_ have more than reënforced that impression. She is an utterly sincere actress, who plans and executes her characterizations with admirable and convincing consistency. Emma Dunn’s succession of perfectly limned stage portraits of elderly women; Frances Starr’s achievements as Laura Murdock in _The Easiest Way_ and as Dorothy in _The Case of Becky_; Jane Cowl’s Mary Turner in _Within The Law_, an impersonation that took Miss Cowl at a single bound almost to the side of Helen Ware; the beautifully feminine and intelligent acting--in an acquired tongue--of Martha Hedman, who has come to us from Sweden; the charmingly restrained and skillful work of Florence Reed in _The Yellow Ticket_; Doris Keane’s admirably lifelike and subtle impersonation of a prima donna of the sixties in _Romance_; Irene Fenwick’s vivid Lily Kardos in _The Song of Songs_, and Laurette Taylor’s exotic princess in _The Bird of Paradise_, and her delightfully human, humorously pathetic, internationally memorable Peg;--these have hardly had time to become memories. Surely, so far as actresses are concerned, our stage is richly endowed. And not only with native talent. Hedwig Reicher, of German birth and training and an excellent actress of Ibsen’s heroines, and Bertha Kalich, who was born in Austria and acted in New York in Yiddish, have both adopted America and the English tongue and, like Alla Nazimova and Martha Hedman, must henceforth be counted among America’s actresses. Mimi Aguglia is living in our midst, and acts in Italian when, all too rarely, opportunity presents itself. As for visitors from England, Marie Tempest, Mrs. Patrick Campbell and Gertrude Elliott are almost as familiarly known in this country as at home; the girlish charm of Phyllis Neilson-Terry, and the ample art of Lillah McCarthy, who is equal alike to the exacting demands of Greek tragedy and Shavian satire, it has recently been the privilege of America to witness; Mary Forbes is a newcomer, an actress skilled in both poetic drama and realistic plays; and the too rare visits of the Irish Players have given us the pungent and stimulating art of Sara Allgood.