_Little Sano_ Madge West. _Chidori_ Mrs. Charles Walcot. _Rosy Sky_ Eleanor Moretti. _Setsu_ Ada Lewis. _Kaede_ Dorothy Revell. _Madame Asani_ France Hamilton. _The Fox Woman_ Mrs. F. M. Bates. _Isamu_ May Montford. _Niji-Onna_ Helen Russell. _Nu_ Madeleine Livingston. _Princess Yo-San_ Blanche Bates. _Gentlemen of Rank_, Messrs. Redmund, Stevens, Dunton, Smith, Meehan, Richards, Shaw, Chamberlain and Shaw. _Geisha Girls_, Misses Winard, Karle, Vista, Mardell, Coleman and Ellis. _Singing Girls_, Misses Livingston, Mirien and Earle. Heralds from the Emperor, maids-in-waiting to the Princess, screen bearers, Kago men, coolies, retainers, runners, servants, geisha, musume, priests, lantern bearers, banner bearers, incense bearers, gong bearers, jugglers, acrobats, torturers, carp flyers, Imperial soldiers and _Zakkuri’s_ musket-men. THE PLAY AND THE PERFORMANCE OF “THE DARLING OF THE GODS.” The tragic drama of “The Darling of the Gods” is an excellent play, one of exceptional power and ethical significance. It is a unique fabric of fancy, wildly romantic, rich and strange with unusual characters, lively with incident, occasionally mystical with implication of Japanese customs and religious beliefs, opulent with an Oriental splendor of atmosphere and detail, like that of Beckford’s romance of “Vathek,”--fragrant with sweetness,--like Moore’s “Lalla Rookh,”--busy with movement, effective by reason of situation, and communicative of a love story of enchaining interest and melancholy beauty. That story is told in continuous, cumulative action,--each successive dramatic event being stronger than its predecessors in the element of suspense; and at the climax there is a weird picture of supernatural environment, a thrilling suggestion of the eternity of spiritual life and personal identity,--a poetic symbolism, at once pathetic and sublime, of the glory and ecstasy, the supreme triumph, of faithful love.