. Our theatres to-day and yesterday. N, Landlord, Mr. V A U G M A N, ^nd, Muns, Mr. H A L L A M. Adelaide, Mifs T U K E, Mary, Mrs. H A M 1 L T O N, Landlady, Mrs. GRAY, * yind, Rachel, Mrs. H B N R Y. PLACES in ihe BOXES m>y be (akcn of Mr. Faaltner at the Bos-office, from T« lo Imlvi. A. M. uDiyi of PcrformaTice from Tbr,, to Fiv,, P. M. where jifo Tickets mjy be hid, and tt Mr. Ccmti Book-blofe at Ihe Bible in HariTVfr-Sjuere. t+t Hamam «c He«i,, rerpcJlfiilly iDform the Public, the Door! will be opened at a ^«,.r/<r aftcf F/vand Ihc Cunain drawn up precilcly at a ^jrtir after Si
. Our theatres to-day and yesterday. N, Landlord, Mr. V A U G M A N, ^nd, Muns, Mr. H A L L A M. Adelaide, Mifs T U K E, Mary, Mrs. H A M 1 L T O N, Landlady, Mrs. GRAY, * yind, Rachel, Mrs. H B N R Y. PLACES in ihe BOXES m>y be (akcn of Mr. Faaltner at the Bos-office, from T« lo Imlvi. A. M. uDiyi of PcrformaTice from Tbr,, to Fiv,, P. M. where jifo Tickets mjy be hid, and tt Mr. Ccmti Book-blofe at Ihe Bible in HariTVfr-Sjuere. t+t Hamam «c He«i,, rerpcJlfiilly iDform the Public, the Door! will be opened at a ^«,.r/<r aftcf F/vand Ihc Cunain drawn up precilcly at a ^jrtir after Six oClxk. Box 8s. Pjt 6s. Gallery 4s. LatiUi and GtniUmcn art rcjut/Ird tojcnd ibdr Strvanis al Fwt. lo keep Places, and tt onlcr iheir Ltnubmm lo laic up and fa dovn ui,6 ihtir Horfci lo iht Eafi-Rtvcr, m avoid Oj-ijufim.*,* Thi Diior kicftrs art pofiti-^ily frobihittd taking Mtntv ai the Duori, uidrjs in hxclangt efPlacet, tkcrcjere Ladies and Gentkmtn viill bt iiriJ emugh mfupplj ihtmjcijes mih Tidcis. f^kal CHAPTER IV. ACTORS BECOMING RECOGNIZED SOCIALLY. The actors social position was becoming recognized; salariesmaintained a fair level, though they would compare unfavorablywith the salary of the present-day chorus girl, and there was nohaggling ever contracts. The average salary was about fourpounds per week, though in some cases an actor received as highas twelve and fifteen pounds. The modern rage for novelty had as yet not set in; the dramaitself being of sufficient novelty. Thus a manager in those olddays need not risk a fortune on a game of chance and was neverperplexed over future attractions. Even melodrama in the latterpart of the eighteenth and the early part of the nineteenth cen-turies, was unknown to the stage, the nearest approach to itbeing serious pantomime, such as La Perouse and Don and OKeefe were the staple attractions, varied nowand then with Goldsmith, Cumberland, Farquhar and Sheridan. Performances were given u
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