The plot is simple. _Alfred de Mirandol_ (M. NOBLET), of the _tout Paris_ set, is engaged to the daughter of the _Marquis de Boissy-Godet_--so he tells everyone who chances to be breakfasting at BIGNON'S, where the first scene is laid--and, without anything particular happening to either of them during the next three Acts, he remains engaged to the young lady when the curtain falls. Then he has a _non fin de siècle_ friend, fresh from Brittany, who proposes to a charming widow, charmingly looked and played by Madame SISOS, who accepts him, and lands him in a duel with a Spanish Duke (cleverly played by M. PAUL PLAN) about her Milliner's bill. No one is hurt, but the incident--the only incident to speak of--furnishes a scene in which the four _fin de siècle_ seconds are continually forgetting the business on which they are met, and drift into baccarat. Then Madame DESCLAUZAS is a Marquise who is so busy with her various charitable institutions that she has not seen her husband for a week, and forgets all about her daughter's marriage. To London 1890 the Marquise, though unquestionably inimitable, seems slightly loud. English Marchionesses do not as a rule wink. But _Paris Fin de Siècle_ is altogether beyond London 1890. English people do not know enough of the formalities attending the arrangement of duels to fully appreciate M. NOBLET'S forgetfulness of his duties; nor do English ladies, as yet, give Harlequin Balls, at which the gentlemen wear red evening coats,--it was not a hunt-ball of course; nor does London 1890 see any particular point in the _monde_ being shown as frivolous and dissipated, while the _demi-monde_ will not permit smoking in the drawing-room, and generally plays propriety. So _Paris Fin de Siècle_ may be true to nature, for all English people know about it. Whether it is or is not, it is just as amusing, and well worth seeing. * * * * * OUR BOOKING-OFFICE.