... . To the Editor of THE STAGE. Sir, Having always interested myself in the above, I fully agree with Mr. Henry Tweedie's argu ments, and feel confident that the founder, the late Mrs. Kitty Car son. provided tho Fund with its correct title The new title, Lane- lev Hal!, conveys nothing, and ;s likely in time to alienate outside sympathy from the Fund. Wnile I am writing it ruight oiportune to ...

... . 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 ...

... . 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,-- 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 ...

... . Sir, Replying to the letter of Mr. Pat Lennox, it is o ...

... . To the Editor of THE STAGE. air, Managers have oeen very g onerous in the past in giving free seats to the various hospitals. Could you. through your paper, bring to tneir notice a suggestion from the students of the medical profession? The tickets so kindly sent are usually received in the general offices of the hospitals con cerned, and, although a few get to the nurses (and rarely tny to ...

... . Sir, I may be termed amongst the new school managers, but I am well backed by the experience of the old school. My father, the late Carlton Fredericks, with Wallis Arthur and Paul Mill, was amongst the early pioneers of concert parties. Circumstances alter casee. If you are running a resident concert party seven good artists with personalities are all i that are necessary, for you have ...

... . To the Editor of THE STAGE. oir, wny do so many mana gers and others engaging artists not return photograph, when stamped addressed envelopes are enclosed f I have lost three dozen photographs within the ni ...

... . From Our Own Correspondent. ROYAL (Bus.M., H. Rushworth; G.M., P. Rodway).--Phyllis Neilson-Terry is here taking the role, with much charm and ease, of Trilby O'Ferrall in Trilby. Charles Garry gives vividness to the melodramatic creation of Svengali. They were supported by Edith Hunter, Rachel Collett der tiinetle, MK'hael MarOwau. Uouglas Allen, and Waiter Humphreys. Almxanwu Leon ...

... . To the Editor of THE STAGE. Sir, Some weeks ago I answered an advertisement, inserted under an obvious nom de plume, for artists for a fit-up tour to play three pieces weekly. I received a reply from a manager in the West of England. I was engaged by wire at a small fit-up touring salary. I gave three days' rehearsal free, ana paid 30s. to join. We did not play three pieces, but we did play ...

... . Sir, I am of the opinion that a No. 1 concert party can carry, when touring from Whit to Octo ber, more than seven artists, pro viding the artists are No. 1. playing No. 1 dates, and doing No. 1 busi ness. Then No. 1 salaries can be paid. But No. 1 salaries are scarce I in concert parties at the moment.-- Yours, etc.. PAT LENNOX. Rursaal, Whitley Bay, May 31, 1927. ...

... . To the Editor of THE STAGE. Sir,--I have read with very great interest your editorial with the above heading. In reply, I would say that there is always a demand for twice as many seats as there are in the house, at increased prices for any of my first performances. There was nothing? in my proposal that the criticism of a new revue should be deferred until five or six nights after its ...