... . Sir,-- It may interest you to know that when I came here ten years a?o the cost of production was about £2 for a set of sateen pierrot costumes. These, with the ?aitists' own comedy props and the girls' evening frocks, constituted a summer entertainment for a twenty-weeks' season. A decode has passed, and we managers find our selves. at any rate in towns like this, forced to Bpend a matter ...

... . To the Editor of THE STAGE. Sir,--Your correspondent, A Yorkshire Journalist, hits the right nail on the head in complaining of the advance work of most of the touring propositions, and justly compares the well-organised film publicity of the picture-house unfavourably with the hazard, slip-shod manner in which the modern touring manager does his work. But the film man has better mate ...

... . To the Editor of THE STAGE. Dear Sir,--From time to time in your paper I have read articles on the subject of provincial managers and the treatment they receive when in the course of 'their business they apply for seats at London theatres. The following incident, I think, will interest you, and, I think, should bo made public. I go to London every year with the express purpose of seeing ...

... ''RESIDENT WORK. To the Editor of The Stage. Sir,--In the leading article in your issue of March 21 under the above heading you describe the Rusholine Repertory Theatre (Manchester's repertory theatre), as semi- professional. May I be permitted to correct that statement? This theatre is not, nor has it ever been, anything but entirely profes sional. At the present moment we have a company ...

... . To the Editor of THE STAGE. Sir,--As a result of a personal tour of the country I have entered the repertory movement. Apropos of your leading article on the subject, I should like to offer a few suggestions, the result of experience. 1 Leading actors at £3 and £4 a week will not do. The repertory of the future must be built up on the acting of the very best. £7, £8, and £10 is not too much ...

... . Protection of Material. To the Editor of THE STAGE. Sir,--There have been many misleading statements concerning the protection of material. One good old organisation has told us that it is impossible to protect material--this, of course, is ridiculous, and should not be repeated. All material can be protected, provided ficient care is taken to go the right way about it. I am one of those ...

... . Sir,-- Will you spare me a littl# space to reply to Miss Judith Wogan, of the Arts League of Sen vice, regarding agents who have no interest for the smaller fry of our profession She savs that slio wrote to a firm of well-known theatrical agents re-engaging an actor for ft forthcoming tour; that she gave A time on two succeeding days when she could see protective candi* dates for the job; ...

... . Sir,--As manager for the late Albert Chevalier. I employed two advance agents. who received printed plans for posting, the most important part of which was the blanking--roughly, a six-sheet on a twelve-sheet, stand, a twelve on an eighteen, and so on. blanked out. I followed this plkn myself when in advance during the past twelve years, particularly with the first tour of Romance. I ...

... To the Editor of The Stage. Sir, I wonder if Mr. J, M Glover recollects a delightful pro duction of the 41 Cloches by a French company under the auspices of the lafe Mr Mapleson at the old Her Majesty's some forty years ago. The work was given with the utmost delicacy and refinement, ono of the many gems of the per formance being tne charming im personation of Serpolette by, I think, Mile. ...

... . Sir,-- The concert party debate that is being conducted through the medium of your columns is exceedingly interesting, and last woek's contributions particularly so, with Messrs. Bart Brady and Ronald Frankau as the soundest debaters. I think Mr. Frankau puts the position admirably. He speaks from a successful experi ence; in fact, I think it more than likelfy that he is indirectly the ...

... To the Editor ol Th* Stagi Sir, In the current issue of The Stags I notice the announcement of a forthcoming tour of Dracula. To avoid any discus sion in the future I should like to draw attention to the fact that on Boxing Dav, 1905, at the Queen's. KeighTey, in conjunction Tvith the late I/ingford Carson. I produced. andx afterwards toured continuously for four years, The Power of the Cross ...

... . To the Editor of THE STAGE. Sir.--Once more THE STAGE, is in admirable leading article, dwells on the mischief that the entertainments tax does to the theatre. The tacit toleration of this burden and the apathetic disregard of its destructive consequences become more and more astonishing a a time whan so many zealous efforts are at work to sustain the living ^rania and ombat the forces ...