Fanny Davenport would not, for any consideration, miss rearranging her wig before the green-room mirror just previous to going on the stage. She has a regular, unvarying formula to go through to guarantee success. She first presses her hands to the sides of her head to be sure the springs are firmly fixed (although she has just had her dresser make that sure in her dressing-room), then gives the "bang" three smart tugs, puffs up the frizzes with a nervous twitch of her fingers, presses the entire wig down from the top of her head, gives her silken trail a final kick to induce it to unfold itself, and then rushes pell mell to the stage in answer to the alarming cry of "stage waiting." Without this formality she would not be herself the whole evening. [Illustration: FANNY DAVENPORT.] Clara Morris believes in the efficacy of a small medicine vial, which she carries (empty) through every scene, she says, through habit, though it is fair to presume, through superstition. Without the vial she could not get along. Neilson also had a vial--a special one--which she insisted should only be used for _Romeo's_ poison potion. She would handle no other, and has been known to have the bill changed because the vial was mislaid, and would not allow "Romeo and Juliet" to be put up for performance until it was found. Frank Mayo thinks his magic lies in an old fur cap and a hare's foot, for rouging, which he had ever since he has been on the stage. [Illustration: DION BOUCICAULT.] Boucicault trembles and is sure of failure for any one of his pieces which is greeted with commendation by all the actors without a dissenting voice. If the players condemn his piece at the rehearsals, he is sure the audience will like it. But in any event no play of his can be a success unless he tears off the cover to the first act, and makes away with the title page at the last rehearsal. Maude Granger has a certain magic smelling-bottle which she puts to her nostrils just before going on the stage. Maggie Mitchell attributes her success in "Fanchon" to an old pair of shoes which she wears in that piece. Eliza Weathersby hates birds, doesn't like whistlers, and has for her special charm an embroidered rose, which always appears on her dress or tights, according to the style of part she may be playing. Paola-Marie, the little Parisienne of Grau's opera bouffe, has a pet pug dog which she always fondles at the side-scenes for luck, before going on the stage. This, too, to the intense horror of the rest of the company, who think dogs in theatres bad luck. Sara Jewett imagines that she commands success and enslaves her audiences by walking through her positions on the stage in her first scene every night before the curtain is rung up for the play. [Illustration: MRS. BOUCICAULT.]