This project, advocated by one who is herself an able exponent of dramatic art, both as an actress and a teacher, is worthy of careful consideration, nor can Miss Filippi's strictures on actors and managers be read with indifference or passed over in silence. It is asserted that acting is no longer a profession, but a business, and that it will continue to be a business until the actors themselves take the necessary steps to give their calling the status of a profession. This is true, because even if the public can be roused to demand that acting shall be treated as an art, it cannot manufacture artists, nor control the choice of the talent which is submitted to its judgment. Miss Filippi believes, moreover, that the thinking portion of the British playgoer is beginning to learn that English theatres need "something" before they can rank in reputation with those on the Continent, an assumption which cannot be denied; although Miss Filippi will hardly expect that all well-wishers of the drama will agree with her as to what that "something" should be. In this, indeed, lies the difficulty, for the divergence of opinion among actors on questions connected with dramatic art is so bewildering that both the public and the profession become indifferent to the controversy from mere weariness. The question for consideration at the moment is the "Students' Theatre," and whether Miss Filippi's project is one more practical and more promising than the many rival suggestions now claiming attention and support from the public; and here, at least, there is room for criticism. In the first place, it may be doubted how far the public would support the theatre by buying stalls, even at the reduced price of 4s., in order to see students act plays which can be seen acted elsewhere under more favourable conditions. Let a novice be ever so well coached, yet the ordeal of facing a theatre full of human beings who all stare at him from the auditory deprives him of the power to control and move that audience. This is a drawback which can only be removed by long practice. Then, as a rule, youth possesses too eager and confident a temperament to appreciate the meaning of restraint. Students must wonder what chances they get by acting in a theatre where no reputations are allowed to be made, no personal ambition can be gratified, and no names may be inserted in the programme! And after reading about these severe impositions, which are to give artistic stability to the "Students' Theatre," it is a comfort to be told by Miss Filippi that it is not her intention "to serve the interests of any particular set of faddists, but to present good plays by a picked company of young actors." Let us hope, then, that Miss Filippi does not intend to limit her players to those who are students in the ordinary sense of the word. And, indeed, might not the co-operation be obtained of those artists who, being temporarily out of an engagement, would be