If the drama in America had been treated as seriously by its cultured citizens as music has been, Margaret Anglin would perhaps be to-day the artistic head of an endowed theatre devoted to productions of Shakespeare, Goethe, Molière, Calderon, Æschylus, Sophocles, and Euripides. These great masters of the stage would form just as important a part of her repertoire as the symphonies of Beethoven and Brahms make up an important part of the programmes of the New York Symphony Orchestra. Margaret Anglin is to-day the greatest tragedienne of the American stage, and should be acting _Medea_ and _Lady Macbeth_. But instead of that she has to tour the country, playing “Green Stockings” and similar piffle, and only indulges her artistic ambitions and ideals in occasional productions of Greek dramas at her own risk and very much at her own expense. I was immensely interested in the rehearsals on the stage of the Greek Theatre. They began at nine-thirty in the morning and would often last—with an intermission of an hour or two for lunch—until eight o’clock at night, but as they were held outdoors in the glorious fresh air of California there was but little fatigue, and all concerned gave themselves up enthusiastically to Miss Anglin’s direction and picturesque conception. She had hired a bungalow near the theatre and a Japanese butler-cook. This little Jap would always appear at one o’clock with a basket filled with the most delicious luncheon dishes, artistically decorated in real Japanese style by his own deft fingers. He seemed to have a great penchant for the stage, asserted that he had acted _Hamlet_ in Japan, and would sit for hours after luncheon watching the rehearsal, with his little inscrutable eyes fixed on the stage. I have often wondered whether on his return to Japan he gave performances of the Greek plays to his own compatriots and whether any great changes or adaptations were necessary to make them comprehensible to his audiences. While the general plan of the action and grouping had been carefully worked out by Miss Anglin, she had an open mind and eye, and would often change the arrangement completely if an improvement could be effected thereby. This meant incessant repetitions, during which her patience and cheerful courtesy never failed her. A grand piano had been rolled into a corner of the stage, and I was so fascinated in watching the rehearsals and the gradual evolution of the stage pictures under her skilful hands, that I insisted on always playing the incidental music myself, even though some of the scenes were repeated dozens of times.