door-keeper--instead of the snarling Cerberus who lies in wait at the
doors of other theatres. We find again that she outrages the public by
the presence of decent and civil ushers, who neither insult the male
spectators by their surly impudence, nor annoy the lady visitor by
coloring her train with tobacco juice. So that before the curtain rises
we are prepared to lament over her unfamiliarity with American customs,
and to predict her ignorance of the American, as well as the English
language.

Divers well-meaning persons repeat the dialogue of the earlier scenes of
the play. There is a good deal of dramatic force in the legs of Mr.
MONTGOMERY, who plays "Macbeth," much animation in the feathers which
Mr. STUDLEY'S "Macduff" wears in his hat, and a foreshadowing of ghostly
peculiarities in the solemn stride of Mr. DE VERE'S "Banquo." We listen
to these gentlemen with polite patience, waiting for the appearance of
"Lady Macbeth." When at length that strong-minded female strides across
the stage, we hail her with rapturous applause, and listen for the
strident voice with which the average "Lady Macbeth" reads her husband's
letter.

We don't hear it, however, for JANAUSCHEK reads in a tone as low as that
which a sensible woman who was plotting treason and murder would be apt
to use. Why "Lady Macbeth" should proclaim her deadly purpose at the top
of her lungs is quite incomprehensible, except upon the theory that
stage traditions have confounded the Scotch with the Irish, and that the
"Macbeths" husband and wife--being the typical Fenians of the period,
were accustomed to roar their secrets to the listening world.

Be that as it may, we are constrained to note the actress's
unfamiliarity with the language, as evinced in the tone in which she