sought in the genius of the actor himself; but contributory causes are
the acceptivity of the audience, which is more noticeable in the Law
Courts than in any other London theatre, and the willingness of his
fellow-performers to "feed" him, as stage-folk have it; that is to
say, provide him with materials upon which (again resorting to stage
language) he may "crack his wheezes." The other day, for example, that
excellent comedian, JOHN SIMON, was his principal ally in this way,
and nothing could have been better than the sympathy between the two
funny men. To CHARLES DARLING naturally fell the fat of the dialogue,
but no one enjoyed the treat more than JOHN SIMON, in whose dictionary
the word jealousy does not exist. LESLIE SCOTT also did his best to
"feed" his principal, and the results were a scream.

If the jokes were now and then a little legal, what did it matter?
Many of the audience were legal too, and that there is no better
audience the reports of the farces played here day after day
abundantly prove. They are out for fun, and therefore in an
appreciative and complaisant mood.

To prove a comedian's genius to the mere reader is a difficult
matter, and one can never hope to re-embody him in all his humorous
idiosyncracies; but quotation comes to one's aid, and in the case
of such a wit as CHARLES DARLING it is invaluable. Thus JOHN SIMON,
referring to Mrs. SIDDONS' unwieldiness in her old age, said that in
a certain part she had to be helped from her knees by two attendants.
Quick as lightning came the comment, "When she was younger she was
able to rise on her own merits." Was ever so exquisitely funny and
unexpected a turn given to the dull word "merits"? Another
perfect thing from this diverting piece, followed also by Homeric
cachinnations, was the mock-serious apophthegm: "If a cloud is going