... . To the Editor of THE STAGE. Sir, My play-going experiences extend well over the period dealt with in Mr. Alfred Bcrlyn'* article, and it is pleasant to recall the performances dealt with. 1 might point out that Tommaso Salvint paid more than on? visit to London. He was seen at Drury Lane in 1875; at the Queenr*, Long Acre, in 1876 (where the season ended abruptly) and at Oovent Garden in ...

... . To the Editor of THE STAGE. Sir,--Mr. Barrow's letter on orchestra parts touches only the fringe of the subject. He has put the music-hall side of the question mildly. What about the musical play side? I know a musical director, who has recently had to stand down from a No. 1 tour because he wor ried over his orchestra parts. He wanted to 've his orchestra a square deal, a *\*an sets of ...

... Sir, There is another phase of I his subject, so ably dealt with by Mr. P. Barrow. I refer to the blatant and crudc orchestration, the vulgarity of which is only equalled by the many ungram- maticsl 44 harmonies one meets with in so many songs. I have one of these weird and wonderful songs before me now. It is arranged for full orchestra (in cluding three saxophones and two banjos). Every ...

... To the Editor of THE STAGE. Sir,--Mr. Patrick Barrow's remarks are no doubt justified to a certain extent, but has he realised the fact that the majority of the markings, dilapidations, illegi bilities, etc., aro caused by the members of the resident orchestras, including the conductor? As a travelling musical direc tor of revues, musical comedies, etc., I have cleaned and rewritten parts and ...