It is almost impossible, in our estimation, to obviate certain jarring notes in the production of a stock company. But when these discordant elements are as few and far between as they are in the Copley Player's presentation of Sheridan's "School for Scandal" it were almost blasphemous to mention them. We cannot but feel, however, that the playing of Paderewski's Minuet in an eighteenth century comedy is somewhat incongruous. A less well known minuet might well have been chosen, and while it might post date Paderewski's, no one would be the wiser.

We missed Miss Roach, but not nearly as much as we expected to. Miss Willard, as Lady Teazle, and Miss Standing, as Maria, are endowed with a pulchritude which, enhanced by the natural grace and finish of their acting, add much to the enjoyment of the play. Beauty at the Copley is like artichokes in Sioux City,--the more to be enjoyed because unexpected. Charles and Joseph Surface, played by Mr. Johnson and Mr. Joy respectively, were as different as brothers usually are, and were acted indifferently well. Mr. Johnson is so vigorous in his acting and has such good lungs that we could not help thinking what a capital cheer leader he would make. But maybe the ideal Elbert Hubbard, honest-to-God young blood of 1777 was just as he portrayed him. If so, those were strenuous days, beyond a doubt. Mr. Foster, as Sir Peter Teazle, and Mr. Clive, as Sir Oliver Surface, bore the brunt of the male effort,--and they bore it well. Mr. Foster particularly distinguishing himself as the doughty old bachelor newly turned benedict.

We cannot remember having seen a better done play at the Copley, nor a longer, for the final curtain fell at about eleven twenty-five. And we do hope that Mr. Jewett will produce more of the Sheridan comedies,--at least until the gowns for the modern plays he puts on can be made to look as lovely and fit as well as those in the School for Scandal.