The theatricnl purista have had it .that il' farce comedy was not already dead it was dyiDg, but wheu one sees the immeuse audienoes thát the befcter of these farces draw to tbe theaters where they are represented, one cannot come to any obber coDolusion tlian that it saems today to be jast as popular an entertainment to tbe masses wbo seek amusement tbrough the medium of theater, as it ever was. "A Night in New York," au operatio comedy in whioh Jolly Nellie McHenry, a favorite soubrette, is tbe chief enlivening figure, is no mere exception to this rule. There is a great deal of catcby musio, excellent songs and color and life in this particular farce, ranch more so tban there is iu many others of its kiud. In he first place, tbe ooinpany presenting it has been generally oredited with beiog oae of tbe exceptioual capacity for entertaiuiug and fun making. Miss Nellie McHenry iu this class of play is noc an unkuowu quautity at producing laugbter. She bas loug been oae of the most popular figures at stage mischief making before the public. She has probably appeared more contiuuously in farce comedy than any other actress iu America, baving begun in that line of work some ten years ago, when she played the leading soubrette role in one of tbe first plays of tbis order put upon the boards called "The Brook." This fseasou she comes in her new play, "A Night in New York" expréss]y written for her by H. örattan Donnelly. It is a farce with a plot wbich is expressed by its title, and according to all accounts, met with much greater snocess than any otber stage production to which Miss McHenry has given her vivacious presence. At the Grand opera bouse tonight.