Could anyone in the audience get a preliminary peep into the Royal box he would, however, always know in advance when the King and Queen are going to be present. On such occasions there is placed on a chair or table in the reception-room adjoining the box a bouquet for the Queen, and two or three programmes, specially printed on satin for his and her Majesty.

The theatre is the only place at which the Queen is not presented with the bouquet which is always offered to her wherever she goes. Her Majesty invariably takes away her bouquet with her, but it is the usual thing for the programmes to be left behind. They are sought for eagerly as souvenirs of the event, for the Royal visit means a great deal to the manager of a theatre. Indeed, many a time in King Edward's reign his presence has changed a financial failure into a very fair success, for where the King goes the public invariably wants to go. Besides, when the King wants to visit a play, those in the Royal circle feel it more or less incumbent upon them to go too, and the news that Society - with a capital S - is going to a certain play invariably causes a rush for seats, with the most gratifying results to the fortunate manager.

The Royal Ante-Room

Attached to the Royal box of most of the theatres is an ante-room or withdrawing-room. It is, as a rule, reserved for the use of Royalty, and is kept closed on all other occasions, for the purchase of the Royal box does not, of necessity, carry with it the right to its use.

This ante-room is a little sitting-room, handsomely furnished, for the reception of its distinguished visitors. When in use it is plentifully decorated with flowers, while on a table there are generally some light refreshments, which are sent down from the Palace. At the Opera, at Drury Lane, and at one or two of the other theatres which have a good deal of space at their disposal, there is, in addition to the withdrawing-room, a smoking-room, so that the King may, if he chooses, smoke a cigarette between the acts. Often, too, the last editions of the evening papers are placed in the room, so that his Majesty may see the news if he does not care to talk.

Although, as a rule, the withdrawing-room is kept closed, there are one or two theatres, such as the Duke of York's, where it is always ready for use. Even the vases are filled with fresh flowers every day. When he is in London, Mr. Charles Frohman, the lessee and manager, often drops in at the Duke of York's in the evening, and he uses the withdrawing-room for the reception of any friends he may desire to see.

Whenever one reads that the King has sent for one of the actors between the acts it is in this withdrawing-room he has the honour of receiving the Royal congratulations. Naturally, it is the ambition of every actor to be singled out for this mark of favour, for, to quote the famous line:

"Approbation from Sir Hubert Stanley is praise indeed."

King Edward's approval was always highly esteemed by the most eminent members of the theatrical profession, for his late Majesty had not only a keen critical sense of acting, but had seen all the best acting which the capitals of Europe could show during the course of his life. Were it possible to collect the Green Room gossip which clusters about his visits to the play a most interesting volume could be written of his late Majesty's association with the actors, with whom he was particularly popular, and for whose convenience he never failed to show the utmost consideration.

Honouring An Actor

Whenever the King decides to summon an actor to his private box he always makes a point of never letting it interfere with the enjoyment of the public. On such occasions Mr. Ashton has to find out how long is the interval before the next rise of the curtain, if it does not happen to be mentioned on the programme, as is now so frequently done. In the time ordinarily allotted for the change of scene the Sovereign finishes his conversation, so that the play runs on smoothly and the final curtain falls at the usual time. In this way those of the audience who have trains to catch are put to no inconvenience.

A similar consideration always marks the Sovereign's punctual attendance at the theatre. If, however, anything should happen unexpectedly to prevent his being in his box before the curtain rises, a message is always telephoned that there is to be no waiting, and the Royal party enters as quietly and unostentatiously as if they were the most obscure, instead of the most exalted, people in the land.

When the King has decided on visiting a theatre nothing short of illness will cause his absence.

The Special Police

An additional fact to those mentioned calls attention to the King's visit to the play. This is that a certain number of special policemen are on duty outside the Royal entrance. The foreigner who is accustomed to seeing kings invariably protected by a bodyguard of soldiers and policemen will naturally imagine that they are needed for the protection of the King. Our own people, however, whose devotion to the Sovereign is unquestioned, know better than this. The police are on duty to protect the public. When the King goes to the play, two at least of the Royal carriages are generally used - one for his Majesty and the Queen, or for his Majesty and the gentlemen who attend him, and the other for the suite.

When the first carriage, containing those in attendance, arrives at the Royal entrance, the crowd, which always is attracted by the awning, naturally rushes up as closely as possible to the vehicles in order to see the Royal party in the second carriage to the best advantage. If the police were not there the chances are greatly in favour of an accident, which, however slight, would be certain to interfere materially with the pleasure of the Sovereign, for the welfare of his people is King George's first consideration.