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Ingraham's literary qualifications are inherited. His father was a prolific writer, and the author of quite a number of works of fiction which had extensive circulation before the war. The play is, of course, somewhat sensational, as the average of American border-life dramas essentially are. But there is less of the harrowing, blood-curdling, gunpowdery rant and fustian than might be expected from its title. Written expressly for the prominent part, that of "Buffalo Bill," ample scope for the histrionic capabilities of Mr. Cody, has been judiciously afforded by the author in the arrangement of the play. It is true there is nothing strikingly original in the plot, and the situations are somewhat after the dime novel order of suggested romance, but the language is devoid of coarseness, and while, in the play, a good deal is left to the imagination, there is enough in the action and spirit of the interpreter to furnish an entertainment of a popular kind, and if there is nothing particular instructive there is nothing positively demoralizing in the story. For the purpose for which it was written, namely, to introduce the famous scout and his specialties, it is a success. The marksmanship of the latter, in the first act, and a unique barbaric dance, in native costume, by the copper-head children of the prairies, constitute the best features of the entertainment. An appropriate climax to this scene was the rescue of her lover - the scout - by Wild Nellie - (Miss Deuier) in a striking tableau which "brought down the house," especially the upper portion of it. Buffalo Bill makes his first entrance, mounted on a superb charger - which mute actor acquitted himself with as much credit as any of the rest of the company. Buffalo Bill has a fine stage presence and with the exception of a little of