Before anyone may commit himself to an affirmative reply, it is needful for him to realise fully the precise demands which a system like that of Phelps makes, when rightly interpreted, on the character, ability, and energy of the actors and actresses. If scenery in Shakespearean productions be relegated to its proper place in the background of the stage, it is necessary that the acting, from top to bottom of the cast, shall be more efficient and better harmonised than that which is commonly associated with spectacular representations. The simple method of producing Shakespeare focusses the interest of the audience on the actor and actress; it gives them a dignity and importance which are unknown to the complex method. Under the latter system, the attention of the spectator is largely absorbed by the triumphs of the scene-painter and machinist, of the costumier and the musicians. The actor and actress often elude notice altogether. Macready, whose theatrical career was anterior to the modern spectacular period of Shakespearean representation, has left on record a deliberate opinion of Charles Kean's elaborate methods at the Princess's Theatre in their relation to drama and the histrionic art. Macready's verdict has an universal application. "The production of the Shakespearean plays at the Princess's Theatre," the great actor wrote to Lady Pollock on the 1st of May 1859, rendered the spoken text "more like a running commentary on the spectacles exhibited than the scenic arrangements an illustration of the text." No criticism could define more convincingly the humiliation to which the author's words are exposed by spectacle, or, what is more pertinent to the immediate argument, the evil which is worked by spectacle on the actor. Acting can be, and commonly tends to be, the most mechanical of physical exercises. The actor is often a mere automaton who repeats night after night the same unimpressive trick of voice, eye, and gesture. His defects of understanding may be comparatively unobtrusive in a spectacular display, where he is liable to escape censure by escaping observation, or at best to be regarded as a showman. Furthermore, the long runs which scenic excess brings in its train accentuate the mechanical actor's imperfections and diminish his opportunities of remedying them. On the other hand, acting can rise in opposite conditions into the noblest of the arts. The great actor relies for genuine success on no mere gesticulatory mechanism. Imaginative insight, passion, the gift of oratory, grace and dignity of movement and bearing, perfect command of the voice in the whole gamut of its inflections are the constituent qualities of true histrionic capacity.