Dramatic Notes.

Park Theatre. Maggie Mitchell. "Maggie tha Midget" is a trashy play with the flimsiest of flimsy plots; in fact, how such a mere thread of a story can be spread out over four acts is entirely incomprehensible. Miss Mitchell has not a pleasing delivery; she uses one style of voice for everything, defies her 'haughty rival' in the same tone that she uses to bid her lover good-bye, and bids her lover good-bye in the same tone in which she tells him of her love. Miss Mitchell seems to think that piquancy is given to her conversation by a slight rising inflection at the end of every sentence, but such a thing becomes only exasperating when repeated a number of times. There is in the cast a character by the name of Ishmael Ackbar, a Spanish Gypsy. For a Spaniard to be called Ishmael Ackbar is something a little too ridiculous. Ishmael is Hebrew, Ackbar, Turkish. Of course such a play as this could not exist without a murder in it. If it did not have one in fine style, the audience might think themselves cheated, and demand their money back. They are not disappointed, however, for it comes at the end of the third act, with lightning, stage thunder, dark woods, and all the necessary adjuncts. With the exception of the bull-fighters, dance at the end of Act I and the Tarantella at the end of Act II, there is little to raise the performance above a tedious mediocrity.

Boston Theatre. Shadows of a Great City. The above is a sensational drama of the modern class, though slightly above the average as regards dialogue and stage settings. The situations, though at times absurdly unnatural and forced, display evidence of power in the authors. Miss Tiffany as Biddy Ronan was exceptionally good and received the most applause, and Mr. Edison as Jim Fairon, made a decided hit. Miss Rand is a little inclined to be too "stagey," but on the whole interpreted the dual of Mrs. and Miss Standish in an intelligent manner. Next week Mr. Emmet appears as "Fritz."