During this trip Maude had her first "Benefit" at Walla Walla, Washington. She was "put up" for a "benefit," extensively advertised, and helped out the company's treasury--after netting something liberal for her. In this tour Maude played in all the Puget Sound towns from Portland to Victoria and all the principal towns of Washington. At its conclusion, she and her mother returned to San Francisco, and she was not seen again in public for some years. Mr. Kiskadden died in San Francisco in '83, and Mrs. Kiskadden took his remains to Salt Lake for burial. There she settled down for a time and sent Maudie to school. Here in the city of her birth she attended school for the next four or five years, but always had a yearning to get back to the stage; and eventually her mother secured an engagement for herself and Maude in "My Geraldine" and the "Paymaster" under the manager of Duncan B. Harrison. From that she got into Frohman's "Lost Paradise," and from that on her history is known to the theatre world. CHAPTER IX. SEASON OF '66-'67. _An Interesting Prayer Meeting_. Julia Dean Hayne's final appearance closed the fourth season of the Salt Lake Theatre, counting the opening one which only lasted from March 8th, '62, to the end of April, about eight weeks, the Irwin season of '63 and '64, the Pauncefort season of '64 and '65, and the Julia Dean Hayne season of '65 and '66. Up to this time the only compensation the stock company received was a pro rata dividend of the benefits given at the end of each season--no one had been put on a salary. The stars, of course, got good liberal percentages or salaries, but even the leading people of the stock company realized but a very meager compensation from the two performances that were gotten up as benefits, one for the ladies of the company and the other for the gentlemen--the two nights' receipts were aggregated and divided up among the company according to their respective merits or worth to the management. These two benefit performances alone probably aggregated twenty-five hundred dollars, which, divided up among about thirty performers, actors and musicians, did not prove satisfactory to a number of the company--more especially some of the orchestra. As a consequence, the ensuing season approaching, the salary question came to the front again very strongly, and the "management" found a well-grounded reluctance on the part of the company to enter upon a new season's work without a certain and satisfactory compensation. This feeling was even stronger among the orchestra than among the stage players, a number of them being quite outspoken in their sentiment: "No pay, no play." The principal agitator among the musicians was Mark Croxall, the brilliant young cornetist recently from England. Mark could not see the propriety or consistency of playing to help pay for the theatre. He had not been used to that kind of thing in England, and although he