Those were happy days for Pittsburgh. Everybody had a skiff and fishing was good anywhere. The suckers were all salmon in the river and you did not have to go to lock number one to catch white or yellow perch. A twine line could be bought at any grocery store. Sporting goods emporiums had not taken over the fish hook industry. Happy would Pittsburgh have been could it always have existed as in those golden days. But communities, like humans, grow out of their simplicity, encouraged or subdued by the successes or failures of life. Alfred was in Pittsburgh again among friends whom he loved. Johnny Hart had graduated from second cook on the tow boat Red Fox to stock comedian at Trimble's Variety Theater. Harry Williams was the stage manager. There was a place made for Alfred on almost every bill. The Levantine Brothers, Fred Proctor, of Keith & Proctor, Harrigan & Hart, Delehanty & Hengler, Joe Murphy, Johnson & Powers, and all the famous artists of that time appeared at this house. Alfred impersonated a wide range of characters while in this theatre. Harry Williams, the stage manager, was an ideal "Mose" in the play of that name. (It was the Saturday night bill for weeks.) Alfred made a big hit as the newsboy, sharing honors with the star. He added new business to the part weekly and was retained several weeks for the one performance on Saturday night. Alfred was engaged by Matt Canning, the manager of the Pittsburgh Opera House. In those days all first class theatres employed a stock company; the stars traveled alone, or at least with only a stage manager. The manuscript of their plays, the scene and property plots were sent in advance. The company studied their parts until the arrival of the star when a grand rehearsal was gone through with. This was a strenuous day's work, particularly if the star was a stickler. Booth, Barrett, McCullough, Edwin Adams, Joe Jefferson, Jane Coombs and many other noted stars appeared at the Pittsburgh Opera House and Alfred had the honor of supporting all of them, by assisting in moving bureaus, dressing cases, center tables, cooking stoves, bedsteads, bar fixtures and other properties required in the plays, up and down stairs. However, parts, and minor roles, were entrusted to Alfred. If the stock system had continued it would be greatly to the advantage of the dramatic stage of today. It made the actor, it proved the actor. He remained in the ranks alone on his ability, impersonating many characters in one season. His art broadened. Actors do not compare with those of the olden days. This is true. We may have a few actors as able as any that ever lived but the dramatic profession in general has deteriorated since the combination system superceded the stock company. The stage has advanced in the authorship of plays and their production, not in their rendition. The actors of today are not the students or workers as were those of the earlier days, neither have they the opportunities.