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Save for a lack of speed, the performance was brilliant. When some scenes go more quickly the acting will be as near perfection as anything in this world. Mrs. Patrick Campbell disguised herself excellently in the flower girl’s primitive squalor, and her cockney accent was (to one who cannot distinguish a hundred and thirty vowel sounds) exactly right and supremely funny. The whole attitude of the girl was excellently managed. With very delicate art we had the gradual progress of Eliza suggested, and throughout the scene in which the small talk of the gutter comes with slow, elaborate beauty, Mrs. Campbell's comedy was rich and rare. Afterwards, as a fine lady, she played with any amount of fire. Sir Herbert Tree, as Higgins, has a part in which his wit and his power of inventing by-play have full scope, and he used them to delightful purpose. There were a thousand and one little touches of oddity, all perfectly right and vividly expressive. We may wonder whether Mr. Shaw meant Higgins to be rather more of a brute than Sir Herbert Tree suggests, but if he were other parts of the character would be puzzling. Sir Herbert’s Higgins is a most genially comic realisation of a man uniting Wellington’s distinctions in one, “I have no small talk and Peel has no manners,” and behind all that the oddity and the intellectual authority with which we devoutly credit our professors. There was a triumph of fun in Mr. Edmund Gurney’s Doolittle, a new species of “golden dustman.” He put the richest unctuous humour into the admirable rogue and his quaint antics, his manner, his bearing wore the jolliest stuff. Just to hear him troll out “undeserving poor” and “middle-class morality” was to yield to laughter. There was some sound work by Mr. Philip Merivale as the phonetic colonel, a most natural study of middle age, and Miss Geraldine Olliffe as the professor’s housekeeper. The laughter and applause were loud, but rather less towards the end.