witness her performances are met at the box offices with the information
that all the seats have been taken long in advance. How are we to account
for the fact that this young lady who came but the other day among us a
stranger, even her name being scarcely known, and who still refrains from
those 'bold advertisements,' which in the case of so many other managers
and performers usurp the functions of the trumpet of fame, has made her
way in a few short months only to the very highest place in the estimation
of our play going public? We can see no possible explanation save the
simple one that her acting affords pleasure in a high degree; for those
who insinuate that her beauty alone is the attraction may easily be
answered by reference to numerous actresses of unquestionable personal
attractions who have failed to arouse anything approaching to the same
degree of interest. As regards the unfavorable critics, we are inclined to
think that they have been unable to shake off the associations of the
essentially artificial characters--Parthenia and Pauline--in which Miss
Anderson has unfortunately chosen to appear. Further complaints of
artificiality and coldness have, it is true, been put forth _a propos_ of
her first appearance on Saturday evening in Mr. Gilbert's beautiful
mythological comedy of 'Pygmalion and Galatea;' but protests are beginning
to appear in some quarters, and we are much mistaken if this graceful and
accomplished actress is not destined yet to win the favor of her censors.
The statuesque beauty of her appearance and the classic grace of all her
movements and attitudes, as the Greek statue suddenly endowed with life,
have received general recognition; but not less remarkable were the
simplicity, the tenderness, and, on due occasion, the passionate impulse
of her acting, though the impersonation is no doubt in the chastened
classical vein. It is difficult to imagine how a realization of Mr.
Gilbert's conception could be made more perfect."