in New Haven, Conn. On 16 December, at the Hyperion Theatre, New Haven, Conn., a grand opening presentation of The Miracle, as produced by the Kunst Film Company, of Berlin, Germany, and which splendid production is being handled in America by the New York Film Company, will be given, accompanied by a lecture and specially prepared music, which will be interpreted by a full orchestra. Later the production will also be presented in Cleveland at the Alhambra Theatre, in the same dignified manner, and on 30 December at Baltimore. No greater compliment could be paid the theme of 'The Miracle' than that a similar production of the same thing has been the first moving picture production to invade the famous centre of music and art in London, namely, Covent Garden. A clipping from a recent issue of the New York American mentions the remarkable occurrence in the following manner: "The movies have invaded that sedate institution and stronghold of classic music, the Covent Garden Theatre. This famous house has been leased for the production of the Cinematograph version of Reinhardt's wordless spectacle, 'The Miracle'. It is true that the fashionable opera season does not begin until May, but the idea obtains among the conservative patrons of the house that the new departure comes shiveringly near being a desecration." To those who have been fortunate enough to witness a presentation of the N. Y. Film Company's production of this famous play it is not alone a revelation of finished photography and dramatic action, but is as well a wonderful spectacle of architectural beauty, the majority of its scenes having a background chosen from the splendid ancient architecture of Europe. In the USA the film faced legal opposition from Albert H. Woods, the owner of rights to and distributor of the 'official' film of Max Reinhardt's The Miracle: the battle ended in a temporary injunction against its distributors, the New York Film Company, from leasing the Continental film under the title of The Miracle. After a court case in London involving the rival version made by Joseph Menchen, the Continental version distributed by the New York Film Co. was known (after 22 March 1913 at the latest) as Sister Beatrice in the USA. The name change to Sister Beatrice was suggested by a judge during a similar copyright court case in London. The film's UK distributor, Elite Sales Co., ceased trading in