Very few of the London critics have of late years ever seen a successful play in London. This statement may surprise many; nevertheless, it is substantial truth. A successful play must be taken as one when it is in the state in which the great public sees it complete within the limitations of its actors. This is, I hold, impossible in the case of a great play on the first night of its production—the only night on which as a rule the critics see it, and on which they record their judgement. When I speak of a new play I include of course a new productions of a standard work. In nowise do I wish to make little of the influence of critics in helping a good play to achieve popular success; I only desire to point out that the play which is seen on a first night is in reality incomplete when compared with itself at a later period.