On January 25th she opened in "Romeo and Juliet." Mr. "Mike" Foster was the Romeo for the occasion. The "leading men" were all out of the way and this was sudden promotion for Foster one of those opportunities that come but rarely to the ambitious young actor, and nearly always bring new honors and distinction. "Mike" struggled manfully with his task, but he did not make an ideal Romeo. On the following evening the writer made his reappearance with the company, after an absence of three months. He played Master Walter in the "Hunchback" on the occasion and was warmly welcomed by the audience. Miss Rogers played in addition to "Romeo and Juliet" and the "Hunchback," "As You Like It," "Love's Sacrifice," "Pygmalion and Galatea," "Lady of Lyons," "Leah," in which the writer played the following characters respectively: Jacques, Matthew Elmore, Pygmalion, Claude Melnotte, Lorenz. Such a repertory, where each play ran for but two performances, put the company on high tension. Those who had new parts, and particularly if they had never played in the pieces, found it very exacting work. Fortunately for the writer, he had played most of the parts before, yet it was a busy time for him during that engagement. Following closely on Miss Rogers with her legitimate plays, came the English comedian known professionally as Willie Gill and his wife, Rose Bain. These co-stars had recently been associated with the writer at Piper's theatre at Virginia City, where they played for a month or so in stock and it was a little of a surprise to me to find they had suddenly materialized into stars and were billed for a week at the Salt Lake Theatre. With sublime assurance, especially for a play writer, which Willie even then professed to be (as well as a comedian), he put up Mark Twain's "A Gilded Age." The piece had been but recently dramatized and had made a marked success with John T. Raymond as Col. Sellers. Raymond had played several engagements with us at the Salt Lake Theatre and was a great favorite, and was looking forward to another visit in the near future with his greatest success, Col. Sellers. Some one apprised him by telegram that Gill was billed to play the piece here and he promptly wired a well known law firm to enjoin Gill from playing it. The managers, Clawson and Caine, were also warned not to play it, so an emergency bill was prepared in the event that they should be stopped. The law firm had taken the necessary proceedings and just before "ringing up" time, as no change of performance had been announced, they appeared on the scene with the necessary officer and papers and the performance of "A Gilded Age" was formally and effectually enjoined. "All That Glitters Is Not Gold" was substituted. This was a lesson to the English comedian late from Australia which he possibly never forgot, especially as a few years later he retired from the stage and settled down in New York as a professional writer for the stage. He was a clever adapter and