If the murky London daylight in the theatre shows a mournful change from its nocturnal glories, even sadder is the contrast between the splendid entrance hall, or lobby, blazing with welcome lights, and the dark, grimy, and generally wretched "stage-door," which opens, mostly, into some gloomy back-street, and seems, to the uninitiated at least, to have no connection at all with the theatre. Here, the manners of the stage acolytes are altogether to match with the outward show, and there would appear to exist some traditional and transmitted dislike to soap-and-water. Strange stories some of these stage doors could tell! The stage door of the "Adelphi," for instance, where poor William Terriss was brutally murdered by the criminal lunatic whom he had befriended,--does it not still give to its old locality a suggestion of blood and tears? Are not the vicissitudes, too, of theatres as striking and as dramatic in their way as those of other historic houses? Now they are great and well-known; then disaster overtakes them, and their very names, for years, are forgotten,--till at last they go the way of old bricks and mortar. In their final dirt and disgrace they hardly recall the scenes of their former triumphs. One might, indeed, become superstitious when one sees how Fortune seems to befriend certain theatres, and as persistently to frown on others. As for some old playhouses,--their day once over, their place knows them no more.... The old Prince of Wales's Theatre, for instance, in Tottenham Street, so famous in the early triumphs of the Bancrofts and Kendals,--who recalls it in its present ruin and discomfiture? The Salvation Army has lately taken pity on it; but apparently its hour has now come, and with its adjacent tenement-houses in Pitt Street, where its green-rooms were, it lies at the mercy of fate and the hammer. The London theatres are nearly all of them in crowded situations, and often so devious and unexpected are the ways by which they are reached that if the city were at some distant age dug out from oblivion like that of Pompeii, the results might be even more puzzling to the antiquary. The stalls, for instance, of the Criterion Theatre are deep underground, reached by myriad carpeted stairs; even the upper circles are well below the street. And what a strange and indecipherable "crypto-porticus" would the "Twopenny Tube" prove to some future Middleton of the ages? In central parts, London, indeed, seems a city built in several superimposed layers: layers, too, not successive, but coëval.