showman pulls the strings of his puppet as the whim of the moment may
suggest. The question is, how far Miss Anderson is able to realize for us
the mental agony and the characteristic self-command of such a woman as
Clarice in such a state as hers. The answer, as given on Saturday by a
demonstrative audience, was wholly favorable; as it suggests itself to a
calmer judgment the kindly verdict must be qualified by reservations many
and serious. We may admit at once that Miss Anderson deserves all praise
for her exhibition of earnest force, and for the nervous spirit with which
she attacks her work. It is a pleasant surprise to see her depending upon
something beyond her skill in the art of the _tableau vivant_. The ring of
her deep voice may not always be melodious, but at any rate it is true,
and the burst of passionate entreaty carries with it the genuine
conviction of distress. What is missing is the distinction of bearing that
should mark a leading member of the famous _troupe_ of players, grace of
movement as distinguished from grace of power, lightening of touch in
Clarice's comedy, and refinement of expression in her tragedy. At present
the impersonation is rough and almost clumsy whilst, at times, the
vigorous elocution almost descends to the level of ranting. Many of these
faults may, however, have been due to Miss Anderson's evident nervousness,
and to the whirlwind of excitement in which she hurried through her task;
and we shall be quite prepared to find her performance improve greatly
under less trying conditions."


_The Scotsman_, 28th April, 1884.

"Last night the young American actress, who has, during the past few
months, acquired such great popularity in London, made her first
appearance before an Edinburgh audience in the same character she chose
for her Metropolitan _debut_--that of Parthenia in 'Ingomar.' The piece