The _Governor_ makes known to her that he is perceptive of the impropriety of his course; that in spite of his conduct he has always loved the wife who has divorced him, and proposes that they remarry. This _Mrs. Slade_ declines to do, not, however, concealing the fact that she still cherishes affection for _Slade_, and the play ends with his picking her up and carrying her off in his arms, in quest of a parson, in order to establish her as the _Governor’s Lady_. Belasco described this fabric as “a play in three acts and an epilogue in Child’s,” and it was announced as having been written by Miss Alice Bradley. During its first performance in New York Mr. Emmett Corrigan (who impersonated the character of _Slade_) came before the curtain and, in a brief speech on behalf of Miss Bradley, made known that she disclaimed credit for anything more than “the central idea” of the play. Neither that “central idea” (the idea, presumably, of showing the patient acquiescence of _Mrs. Slade_ suddenly turned into resolute and triumphant opposition by discovery of the full extent of her husband’s baseness) nor anything else in the piece is dramatically precious or extraordinary. Many other “collaborators” with Belasco might, however, fairly emulate Miss Bradley’s frankness. The construction of “The Governor’s Lady” is sometimes arbitrary and the characters in it are in some respects extravagantly drawn--causing more the effect of rough sketches than that of finished portraits. The dialogue possesses the merit of suitability to the situations and, in general, of seeming to arise spontaneously from them. The notable excellence of the production was its exact fidelity to the surface details of everyday life and the really remarkable smoothness, harmony, and sincerity with which it was acted--imparting to much that was crude and improbable an aspect of veracity.--The play was cast as follows: