Glasgow Herald, 6th May, 1884.

“MISS ANDERSON AT THE ROYALTY THEATER.

“Since ‘Pygmalion and Galatea’ was produced at the Haymarket Theater, fully a dozen years ago, when the part of Galatea was created by Mrs. Kendal, quite a number of actresses have essayed the character.  Most of them have succeeded in presenting a carefully thought-out and intelligently-executed picture; few have been able to realize in their intensity, and give adequate embodiment to, the dreamy utterances of the animated statue.  It is a character which only consummate skill can appropriately represent.  The play is indeed a cunningly-devised fable; but Galatea is the one central figure on which it hangs.  Its humor and its satire are so exquisitely keen that they must needs be delicately wielded.  That a statue should be vivified and endowed with speech and reason is a bold conception, and it requires no ordinary artist to depict the emotion of such a mythical being.  For this duty Miss Anderson last night proved herself more than capable.  Her interpretation of the part is essentially her own; it differs in some respects from previous representations of the character, and to none of them is it inferior.  In her conception of the part, the importance of statuesque posing has been studied to the minutest detail, and in this respect art could not well be linked with greater natural advantages than are possessed by Miss Anderson.  When, in the opening scene, the curtains of the recess in the sculptor’s studio were thrown back from the statue, a perfect wealth of art was displayed in its pose; it seemed indeed to be a realization of the author’s conception of a figure which all but breathes, yet still is only cold, dull stone.  From beginning to end, Miss Anderson’s Galatea is a captivating study in the highest sphere of histrionic art.  There is no part of it that can be singled out as better than another.  It is a compact whole such as only few actresses may hope to equal.”

Dublin Evening Mail, 22d March, 1884.

“MARY ANDERSON AT THE GAIETY.

“Notwithstanding all that photography has done for the last few weeks to familiarize Dublin with Miss Anderson’s counterfeit presentment, the original took the Gaiety audience last night by surprise.  Her beauty outran expectation.  It was, moreover, generally different from what the camera had suggested.  It required an effort to recall in the brilliant, mobile, speaking countenance before us the classic regularity and harmony of the features which we had admired on cardboard.  Brilliancy is the single word that best sums up the characteristics of Miss Anderson’s face, figure and movements on the stage.  But it is a brilliancy that is altogether natural and spontaneous—­a natural gift, not acquisition; and it is a brilliancy which, while it is all alive with intelligence and sympathy, is instinct to the core with a virginal sweetness and purity.  In ‘Ingomar’ the heroine