explaining their difficulties, and many in asking my advice ended up with the persistent cry of the modern woman, “I do so want to get on!” This is a transitional stage in the world, as well as in the theatre.  When women are more intelligent and independent, there will not be the same amount of selling themselves for the necessities of existence.  They will be able to secure the necessities, and a large number of the luxuries, for themselves—­one of the reasons, doubtless, why the reactionaries cry out so loudly against the woman’s movement.

People love power over others; they love to control their destinies; and there is a very large number of men who drift towards the theatre, and like to consider the poor little butterflies as creatures of a different species from their wives and daughters—­a species provided by a material Providence, who supplies their other appetites.  The poor little butterflies are glad, for a short time, to put up with stupidity and egoism for the sake of a temporary relief from sordid discomfort and gloom.  Of course, I am not speaking of the women who, without economic pressure, lead an illicit life.  There are a few of these women who are more than able to protect themselves, and occasionally avenge their sisters.

Of course, there are also theatres which are obviously dependent for their great success upon this “oldest profession in the world”:  theatres where a fairly good salary is offered with the suggestion that it is as well to sup at some well-known restaurant, at least three times a week; to drive to the theatre in a motor car, and to be dressed by one of the famous dressmakers, whose names are given with the salary.  There are theatres where an eye is kept on the number of stalls which are filled by the employed.  But on the tours of these successes, the managers are often very strict in their regulations, and do everything to prevent those employed from supplementing their incomes in this manner.

There are, unfortunately, too many women who still believe in dependence, so the supply is quite as great as the demand.  To the real artist who is deeply centred in her work, this particular evil is of practically little importance.  A great belief in her own powers enables her to push aside opportunities which are not genuine.  Men are also human, and if met frankly and straightforwardly in work, or for that matter, out of it, are as capable of honest, helpful good fellowship as any woman.  In fact, the work of the theatre, which employs men and women, on more or less equal terms, is a splendid place to find out that humanity is not limited to sexual problems, and that the spirit of work removes these limitations, and gives place to a healthy, invigorating atmosphere of camaraderie.  It is quite a false idea that a move in the wrong direction is in any way necessary to success.

Something must be said with regard to the sanitation and ventilation of the theatre.  Though there has been latterly a great effort to improve the dressing-rooms in the new buildings, there is still a great deal to be remedied.  Here is a description of a dressing-room used by a young artist in a modern West End theatre.