Stream-Lined Production.

First, a modestly-mounted production that ran smoothly through its four acts, with no fuss and clutter on the small stage, and no hint of a hold-up for scene changes. A single interior set served for three acts; for the [unclear: cutdoor] scene of Act Two we had Peter Campbell's symbolic painted curtains and wolfish rooks, framing a Dolomites wayside shrine. The loss was greatest in Act Three, where the narrow "nursery" had to contain all the bustle of the ball—my own suggestion for this would have been to have the musicians in the open on the floor of the hall; and let the dancers overflow the limits of the stage. Why in any case, was Peter Crowe's band so coyly immuned in a fortune-teller's gypsy tent?