search for the unknown and her discovery and conquest of him constitute the substance of this operatic farce. Mrs. Carter’s personation of _Miss Helyett_, while not deficient of piquancy, was insignificant. As a singer she was in no way unusual. Belasco relates that, while in Paris with her, to see the French original, he requested Audran to hear Mrs. Carter sing and, if he thought well of her as a singer, to teach her the songs in “Miss Helyett.” “Audran was charmed with her ability,” he says, “and gave her a number of rehearsals. Then he recommended an instructor and even wrote an extra musical number for her,”--which indicates that Audran, as a musician, was easily pleased. His operetta was highly successful in Paris, and hardly less so in London, where Charles Wyndham brought it out, at the Criterion Theatre, under the name of “Miss Decima.” It was generally, and justly, though without rancor, condemned by the press of New York. Nevertheless it had a considerable though not very remunerative career in the metropolis: it was acted at the Star Theatre till January 10, 1892, and on January 11 was transferred to the Standard Theatre, where it maintained itself till February 13,--the 100th performance occurring there on January 29. Belasco seems to have set some store by it at one time, but that was long ago. Wyndham’s London presentation of the composition was made July 23, 1891. This was the original cast of “Miss Helyett” in New York: _Paul Grahame_ Mark Smith (Jr.). _Todder Bunnythorne_ M. A. Kennedy. _Obadiah Smithson_ Harry Harwood. _Terence O’Shaughnessy_ G. W. Travener. _Jacques Baccarel_ J. W. Herbert. _Max Culmbacher_ N. S. Burnham. _MacGilly_ Edgar Ely. _Prof. Bonnefoy_ Gilbert Sarony. _Señora Carmen Ricomba della Torquemada_ Kate Davis. _Marmela_ Laura Clement. _Mrs. Max Culmbacher_ Adelaide Emerson. _Mrs. MacGilly_ Lillian Elma. _La Stella_ Henrietta Rich. _Miss Helyett (Smithson)_ Mrs. Leslie Carter. After its New York engagement “Miss Helyett” was taken on a tour of principal cities of the country and was performed until the close of the theatrical season of 1891-’92. Notwithstanding its intrinsic paltriness and vulgarity, that play was practically useful to Belasco and Mrs. Carter, providing a temporary source of subsistence for both of them; yielding the actress some useful experience of the stage; permitting the dramatist some leisure for meditation and for rectification of his then immatured Civil War play, and leading, indirectly, to the writing and production of one of the best dramas with which his name is associated. ORIGIN OF THE EMPIRE THEATRE.