Anticipating a little, I may say here that the Lyceum company, though not affecting to contain any brilliant “stars,” has from the beginning exhibited a true homogeneousness in those sound conscientious actors who have always “discharged” their characters in an effective way, suited to the requirements of the piece. With a certain logical consistency, the manager has ever considered the requirements of his audience and the theatre. The attraction, it was understood, was to be the two leading performers, who were to stand, as it were, before a well-studied, well-composed background. The subsidiary characters, it was felt, should set off the leading characters. The introduction of Mrs. Stirling, an actress of the first rank, in such a part as the Nurse, however welcome as a performance, almost disturbed the dramatic harmony, and made an inferior part too prominent. This may seem hypercritical, but there can be no doubt as to its truth, and it shows what tact is necessary to secure an even performance. Those members of the corps who have been with him almost from the beginning, the manager has thoroughly leavened with his own methods and his own spirit, thus securing a general harmony. Such useful auxiliaries include Johnson (a low comedian of the older school), Tyers, Archer (another low comedian), Haviland (a most useful performer, who improves with every year), and Andrews. Another serviceable player was Wenman, who seemed in physique and method to be exactly suited to Burchell in ‘Olivia.’ During the past seasons, however, this worthy man has been removed from the company by death. On a stranger these players might produce little effect; but the _habitués_ of the theatre have grown familiar with their ways and faces and figures, and would miss them much were they absent from a new play. In addition to this permanent body, the manager is accustomed occasionally to call to his aid performers of mark, such as Terriss and Forbes Robertson, the former an admirable actor in special characters that are suited to his robustness, though his powers would gain by some refining. Forbes Robertson is a picturesque performer of many resources, who can supply colour and passion at need. He has a fair share of what is called “distinction”; indeed, we wonder that his position has not ere this become more fixed and certain. But this rests on a deeper question, and is connected with the conditions of the stage at this moment, when the only course open to the player is to become a “manager-actor,” and have his own theatre, otherwise he must wander from house to house. Arthur Stirling and Macklin—excellent, well-trained actors both—have been found at the Lyceum, as also Mr. Bishop. Of the ladies there are Miss Genevieve Ward, the excellent Mrs. Pauncefort (of the school of Mrs. Chippendale), Miss Coleridge, occasionally the vivacious Miss Kate Phillips, and Miss Emery, who takes Miss Terry’s place in case of indisposition or fatigue.