A Young Syrian Captain Mr HERBERT ALEXANDER Page of Herodias Mrs GWENDOLEN BISHOP 1st Soldier Mr CHARLES GEE 2nd Soldier Mr RALPH DE ROHAN Cappadocian Mr CHARLES DALMON Jokanaan Mr VINCENT NELLO Naaman the Executioner Mr W. EVELYN OSBORN Salomé Miss MILLICENT MURBY Slave Miss CARRIE KEITH Herod Mr ROBERT FARQUHARSON Herodias Miss LOUISE SALOM Tigellinus Mr C. L. DELPH Slaves, Jews, Nazarenes, and Soldiers by Miss Stansfelds, Messrs Bernhard Smith, Fredk. Stanley Smith, John Bate, Stephen Bagehot and Frederick Lawrence. SCENE--THE GREAT TERRACE OUTSIDE THE PALACE OF HEROD. Stage Management under the direction of Miss FLORENCE FARR. The following paragraphs are taken from a criticism on the performance which appeared in _The Daily Chronicle_ of 11th May 1905: "If only the dazzling and unfortunate genius who wrote 'Salomé' could have seen it acted as it was acted yesterday at the little Bijou Theatre! One fears, if he had, he would have found that little phrase of his--'the importance of being earnest'--a more delicately true satire than ever upon our sometimes appalling seriousness. "Quite a brilliant and crowded audience had responded to what seemed an undoubtedly daring and interesting venture. Many seemed to have come out of mere curiosity to see a play the censor had forbidden; some through knowing what a beautiful, passionate, and in its real altitude wholly inoffensive play 'Salomé' is. "As those who had read the play were aware, this was in no way the fault of the author of 'Salomé.' Its offence in the censor's eyes--and, considering the average audience, he was doubtless wise--was that it represents Salomé making love to John the Baptist, failing to win him to her desires, and asking for his death from Herod, as revenge. This, of course, is not Biblical, but is a fairly widespread tradition. "In the play, as it is written, this love scene is just a very beautiful piece of sheer passionate speech, full of luxurious, Oriental imagery, much of which is taken straight from the 'Song of Solomon.' It is done very cleverly, very gracefully. It is not religious, but it is, in itself, neither blasphemous nor obscene, whatever it may be in the ears of those who hear it. It might possibly, perhaps, be acted grossly; acted naturally and beautifully it would show itself at least art. "In the hands, however, of the New Stage Club it was treated after neither of these methods. It was treated solemnly, dreamily, phlegmatically, as a sort of cross between Maeterlinck and a 'mystery play.'