_Monday._--_Carmen._ ZÉLIE is the accepted _Carmen_ this season--no better; and MAGGIE MACINTYRE as _Michaela_, which, being an awkward name to pronounce, might be abbreviated to _Mickie_. DAN DRADY the Dramatic, excellent as _Escamillo_. One singer in a season plays many parts, and one part is played by several singers. How would a theatre succeed conducted on this plan, so that the same play should be produced on certain nights with a different cast? Here is DAN DRADY, for example; he plays _Escamillo_, tragi-comedy, one night; another time he is the noble _San Bris_ in _Les Huguenots_; another, he is _Figaro_ the loquacious _Barber of Seville_; another, he is the devil-may-care gallant _Don Giovanni_; and, though best in serious parts, he is good in all of them. On other occasions, when _Carmen_ is given, the cast will be changed; some other singer will represent _Escamillo_, or someone will replace MAGGIE as _Mickie_; RAVELLI the Reliable will have been _Don José_ once, and then MONTARIOL or YBOS (why Boss? Can't yet make this out), or even JEAN DE RESZKÉ may represent the nincompoop soldier. Suppose _A Pair of Spectacles_, with a change of cast, Mr. HARE out of it occasionally, and Mr. ... Ah! there's the difficulty, Mr. Who, taking his part. Imagine _Faust_ without IRVING as _Mephistopheles_. What a big Company it would require! No; better leave well alone. [Illustration: Mr Punch.] _Tuesday._--_Faust._ Always a safe draw. Same cast as before. Worth noting, that GOUNOD has given _Wagner_ very little to do in this Opera, and that little not of his best. Evidently GOUNOD does not possess a strong sense of humour, or he wouldn't have lost such a chance as this. In the Kermesse Scene _Wagner_ should have commenced one of his own Wagnerian strains, in the Wagnerian style, and been immediately stopped by the student's applause. _Wednesday._--_Le Nozze di Figaro._ Always charming. Should like to see examination paper on the plot of _Le Nozze_, questions to be answered without any reference to book. 1. Give succinct and clear account of the plot. 2. What connection with plot have _Figaro's_ father and mother? 3. What social position among the Count's guests are the ladies of the ballet supposed to hold? 4. Having stated this, account for their costumes. 5. Why does Mlle. PALLADINO, the chief dancing guest, take no sort of notice of _Il Conte_ and _La Contessa_? Are they not on speaking terms? If not, why not? 6. Why is _Don Bartolo_ always made up and costumed as a superior Pantaloon?