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Col. Prentiss Ingraham's new play for Buffalo Bill was presented at the Windsor Threatre Monday. It is entitled Buffalo Bill at Bay. The play is without doubt destined to succeed on the road. The central figure, Buffalo Bill, is as picturesque a fighter as any hero that Fenimore Cooper ever drew. In every climax he drew the plaudits of the audience, until at the end of the third act, he received a deafening recall–such a demand as only a Bowery audience can make, spontaneous and hearty. A Bowery audience is always in earnest. The vast throng followed the thread of the story, and caught every point, and as the hero turned the tables upon his enemies the applause and the sympathy found vent in outbursts that came like the roar of artillery. The climaxes in the first three acts were finely brought on. But the denouement in the fourth and last act needs strengthening–it is a little too tame. However, Buffalo Bill has scored a success, and will add an exciting drama to his repertoire. Col. Ingraham will no doubt improve the play as he discovers the defects. The plot is simple–hardly worth repeating. The heroine is a sister of Buffalo Bill (Lydia Denier), who is beloved by Guy Woodbridge (Lou Willard). The villain is a United States officer who turns out to be a renegade. Of course the villain plots against the happiness of the heroine, and the plot hinges upon a kidnapping and a rescue. The disguises of Buffalo Bill in unraveling the plot are very fine in the make-up. Charles Wilson played an Irishman very well. Harry Irving had a very poor conception of an African servant. Lydia Denier was graceful as Prairie Pearl, and Nellie Jones, Corinne Kendall made the most of the role of a disappointed and plotting woman. The play was handsomely mounted, and will no doubt test the capacity of the house during the week.

Col. Prentiss Ingraham's new play for Buffalo Bill ws presented at the Windsor Threatre Monday. It is entitled Buffalo Bill at Bay. The play is without doubt destined to succeed on the road. The entral figure, Buffalo Bill, is as picturesque a fighter as any hero that Fenimore Cooper ever drew. In every climax he drew the plaudits of the audience, until at the end of the third act, he received a deafening recall–such a demand as only a Bowery audience can make, spontaneous and hearty. A Bowery audience is always in earnest. The vast throng followed the thread of the story, and caught every point, and as the hero turned the tables upon his enemies the applause and the sympathy found vent in outbursts that came like the roar of artillery. The climaxes in the first three acts were tinely brought on. But the denouement in the fourth and last act needs strengthening–it is a little too tame. However, Buffalo Bill has scored a success, and will add an exciting drama to his repetoire. Col. Ingraham will no doubt improve the play as he discovers the defects. The plot is simple–hardly worth repeating. The heroine is a sister of Buffalo Bill (Lydia Denier), who is beloved by Guy Woodbridge (Lou Willard). The villain is a United States officer who turns out to be a renegade. Of course the villain plots against the happiness of the heroine, and the plot hinges upon a kidnapping and a rescue. The disguises of Buffalo Bill in unraveling the plot are very fine in the make-up. Charles Wilson played and Irishman very well. Harry Irving had a very poor conception of an African servant. Lydia Denier was graceful as Prairie Pearl, and Nellie Jones, Corinne Kendall made the most of the role of a disappointed and plotting woman. The play was handsomely mounted, and will no doubt test the capacity of the house during the week.