things can possibly "pull themselves together" for the imminent "first night,"--and how in the world the dingy, draughty theatre can conceivably transform itself into the home of glory, wealth, and light that the favoured audience of the "première" know. These things are certainly an experience. [Illustration: _The "Gods."_] "Good society," says M. Taine (in his _Notes on England_), "does not go to the theatres, with the exception of the two opera houses, which are the exotic and hothouse plants of luxury, and in which the prices of admission are enormous, and evening dress is imperative. As to the others, the audience is recruited from among the lower middle class." This, although it contains a small element of truth, is, nevertheless, a manifest exaggeration. For smart society is a great supporter of the drama, and even royalty, whose attendance in the theatre is always announced beforehand by the supply of white silk programmes in the royal box, occasionally vouchsafes its presence. Especially is there always a great _furore_ over the procuring of "first night" seats at the best London theatres. So far, indeed, as the audience of the stalls is concerned, the "first-nighters" are, more or less, always the same people; influential magnates, editors, aristocratic "patrons of the drama," and a certain proportion of smart London people, those of whom it has come to be known that they make a point of attending every "first night" of any distinction. Sometimes invitations are issued; sometimes, it is a case of making early application. The _entrée_ to certain first nights is a kind of social distinction. Often a supper party is given after the performance, on the cleared stage; at such gatherings a spirit of geniality prevails, and smart society does obeisance generally to the bright particular stars of the drama. With the more plebeian pit and gallery it is otherwise. These unreservedly express their feelings, and, after first representations, voice the sentiments of the multitude. These, if the curtain be at all belated in rising, raise the house by din and hubbub; the noise that they make, indeed, is apt to scare the uninitiated; it resembles a revolution on a small scale. The pit and gallery are very intent on getting their money's worth; for they always pay for their seats, and pay, not only in coin of the realm, but in sad and weary hours of waiting in the cold, drizzled street. Who has not noticed, on days of bright spring weather and dreary autumn alike, a long crowd of patient men and women waiting uncomplainingly in a long file till the theatre doors should open and admit them? At the Lyceum, the file,--and this not only on first nights,--extends far round the corner into the Strand. At the Haymarket Theatre, or the newer Her Majesty's,--it reaches far up towards Piccadilly Circus. Sometimes a few among the patient crowd have provided themselves with campstools; sometimes,