The result is strange so far as the theatre is concerned, for on an important occasion even a writer with such a rapid pen as that of Clement Scott needed the full time-allowance of the old system. The consequence is seen in two sets of announcements. According to one, there is to be a _répétition générale_ of several forthcoming plays, which, in plain English, means an anticipatory performance to a private audience, given in order to assist the critics--or some of them--in carrying out their duties and fighting the clock, and perhaps also for the purpose of giving seats to some of the swagger "deadheads" who crowd the stalls on a first night. The other announcement was by Sir Herbert Tree, that his coming first night was to begin at seven o'clock, in order that we might have leisure on the same evening for the performance of our tasks. The representatives of the morning papers have a melancholy choice between having no time to dine and no time to write. Perhaps the _répétition générale_ system will come into vogue, but it has disadvantages. For years it was worked at the Savoy during the days of that theatre's vitality; but the public rehearsal was a real rehearsal, with three rows of stalls left empty for the to-and-fro of people directing the performance, and scenes were acted over again and songs resung. A procession in _Utopia Limited_ was sent back half-a-dozen times because it did not reach a particular position on the stage at the right moment. _Répétitions_ of this character--and, it may be, of any character--are not wholly satisfactory to the critic. There is a sham-fight air about them--a good many of the players cannot work themselves up to the full fury of real combat; they are affected by the fact that the affair is not exactly genuine. One can even imagine that some of them say to themselves, "It will be all right on the night," and justice is by no means restored even if the critic afterwards sees the first public performance. The dress rehearsal has left him somewhat unfairly cold, because the circumstances were hostile, and in most cases a second dose of the affair within twenty-four hours makes him colder still, since, unless the work is the rare masterpiece, he does not wish to see it twice within a space of less than forty-eight hours, or years. No doubt the public will get the benefit of the critic's views as to the nature of the reception, since, having already written his notice, which he is not likely to alter in the least degree so far as impressions of the piece and acting are concerned, he will have plenty of time for a last paragraph about the "boos" or cheers and the non-appearance of the author or the speech.