The Emperor's theatrical interest and attention when in Berlin are concentrated on the Berlin Royal Opera and the Berlin Royal Theatre (Schauspielhaus), and when in Wiesbaden on the Royal Festspielhaus at that resort. When in his capital he goes very rarely to any other place of theatrical entertainment. His interest in the royal opera and theatre both in Berlin and Wiesbaden is personal and untiring, and he has done almost as much or more for the adequate representation of grand opera in his capital as the now aged Duke of Saxe-Meiningen did, through his famous Meiningen players, for the proper presentation of drama in Germany generally. The revivals of "Aida" and "Les Huguenots" under the Emperor's own supervision are accepted as faultless examples of historical accuracy in every detail and of good taste and harmony in setting. In a well-informed article in the _Contemporary Review_ Mr. G. Valentine Williams writes: "Once the rehearsals of a play in which the Emperor is interested are under way he loses no time in going to the theatre to see whether the instructions he has appended to the stage directions in the MS. are being properly carried out. Some morning, when the vast stage of the opera is humming with activity, the well-known primrose-coloured automobile will drive up to the entrance and the Emperor, accompanied only by a single adjutant, will emerge. In three minutes William II will be seated at a big, business-like table placed in the stalls, before him a pile of paper and an array of pencils. When he is in the house there is no doubt whatever in anyone's mind as to who is conducting the rehearsal. His intendant stands at his side in the darkened auditorium and conveys his Majesty's instructions to the stage, for the Emperor never interrupts the actors himself. He makes a sign to the intendant, scribbles a note on a sheet of paper, while the intendant, who is a pattern of unruffled serenity, just raises his hand and the performance abruptly ceases. There is a confabulation, the Emperor, with the wealth of gesture for which he is known, explaining his views as to the positions of the principals, the dresses, the uniforms, using anything, pencil, penholder, or even his sword to illustrate his meaning. Again and again up to a dozen times the actors will be put through their paces until the imperial Regisseur is entirely satisfied that the right dramatic effect has been obtained.