Parthenon.... The actress has evidently been well taught, and is both an
apt and clever pupil; she speaks clearly, enunciates well, occasionally
conceals the art she has so closely studied, and is at times both tender
and graceful.... Her one great fault is insincerity, or, in other words,
inability thoroughly to grasp the sympathies of the thoughtful part of her
audience. She is destitute of the supreme gift of sensibility that Talma
considers essential, and Diderot maintains is detrimental to the highest
acting. Diderot may be right, and Talma may be wrong, but we are convinced
that the art Miss Anderson has practiced is, on the whole, barren and
unpersuasive. She does not appear to feel the words she speaks, or to be
deeply moved by the situations in which she is placed. She is forever
acting--thinking of her attitudes, posing very prettily, but still posing
for all that.... She weeps, but there are no tears in her eyes; she
murmurs her love verses with charming cadence, but there is no throb of
heart in them.... These things, however, did not seem to affect her
audience. They cheered her as if their hearts were really touched....
These, however, are but early impressions, and we shall be anxious to see
her in still another delineation."


_Standard_, 10th December, 1883.

"LYCEUM THEATER.

"Miss Mary Anderson has won such favor from audiences at the Lyceum, that
anything she did would attract interest and curiosity. Galatea, in Mr.
W.S. Gilbert's mythological comedy, 'Pygmalion and Galatea,' has,
moreover, been spoken of as one of the actress' chief successes, and a
crowded house on Saturday evening was the result of the announcement of
its revival. An ideal Galatea could scarcely be realized, for there should