Miss Terry was, as usual, touching and pathetic. So refined, so perfect was the general treatment, that it attracted and drew larger and yet larger houses. As the season went on, the manager, following his favourite policy, prepared a series of revivals on a gigantic scale. These were virtually convenient rehearsals for the coming American tour. But the constant changes of scenes, dresses, etc., involve an enormous strain. The round of pieces included, within the space of a few weeks, no fewer than eleven plays: ‘Faust,’ ‘King Arthur,’ ‘Louis XI.,’ ‘Merchant of Venice,’ ‘Becket,’ ‘Much Ado about Nothing,’ ‘The Lyons Mail,’ ‘Charles I.,’ ‘Nance Oldfield,’ ‘Corsican Brothers,’ ‘Macbeth.’ A new short piece, ‘Journeys End in Lovers Meeting,’ by George Moore and John Oliver Hobbes, which was to introduce Miss Terry, was also announced. The burden of “staging” all these great works, in a short time, must have been enormous. But it was only in this fashion that the revivals could be done justice to. It is a wonderful proof of our actor’s ability that, after so many years of experiment in characters of all kinds, he should in almost his latest attempt have made one of his most signal successes. I doubt if anything he has hitherto tried has more profoundly impressed his audience than the little cabinet sketch of Corporal Brewster in Dr. Conan Doyle’s ‘Story of Waterloo.’ This he had first presented to a provincial audience, some eight months ago, at Bristol, with such extraordinary effect that the general audience of the kingdom felt instinctively that a great triumph had been achieved. Everyone at a distance at once knew and was interested in the old corporal. A second trial was made in London, for a charity; and at last, on May 4 of the present year, it was formally brought forward in the regular programme. There was what is called “a triple bill,” consisting of Mr. Pinero’s early drama, ‘Bygones,’ this ‘Story of Waterloo,’ and some scenes from ‘Don Quixote,’ Wills’s posthumous work.[60] This sketch of the old soldier is a fine piece of acting, highly finished, yet natural and unobtrusive, full of pathos and even tragedy. The actor excelled himself in numerous forcible touches, now humorous, now pathetic. He gave the effect of its being a large history in little; we had the whole life of the character laid out before us. It was original, too, and the oddities were all kept in with a fine reserve. The figure will always be present to the memory, a satisfactory proof of excellence. There was one mistake, however, in giving the female character to Miss Hughes, a bright and lively _soubrette_, who could not, therefore, supply the necessary sympathetic interest, though she did her best. Taking it all in all, Corporal Brewster is, in its way, one of the most masterly things the actor has done, and it can be praised—ay, extolled—without the smallest reservation.