�������t¶��

As Lucy Delap, Maria DiCenzo, and Leila Ryan write in Feminism and the Periodical Press, 1900-1918, quoting the Anglo-American actress Beatrice Forbes-Robertson Hale: "In the United States, New York 'advanced feminists' referred to their husbands as 'fellow-feminists,' and welcomed the 'new man': 'every son born to a feminist, and every man married to one, has the opportunity to develop into the new type.'"

If an actor like Forbes-Robertson gives a farewell performance of Hamlet, or a manager like Beerbohm Tree produces a patriotic melodrama, or the company from the Théâtre Français perform one of the rare classics that the young person may be taken to, I have seen a London theatre filled with school girls and boys.

Sir Johnston Forbes-Robertson was wise enough to use nearly all this music in his fine production.

Edward German composed the whole of the music for Forbes-Robertson's production of Romeo and Juliet at the Lyceum, September 1895, and also dedicated it to him.

Modjeska and Mr. Forbes-Robertson were, I believe, at the Court, Dion Boucicault's play, "The Shaughraun," was running at the Adelphi—or, stay, was this old house of melodrama then the home of "The Danites"?