The Sun.
London, England, 1817-08-29 00:00:00

THE STAGE

. .
Mr. Etirrnii,--" The appearanve and retire:.
meat of Actors (says Dr. Jon toot;:), are the gretit
events of the theatrical world •,‘ and their first
performances fill the Pit With conjecture and prog-
nostication, as the first actions Of a new monarch
agitate nations with hope or fear." IVithout at-
taching so much importance to theatrical con-
cerns as the great Critic and Moralist apneari
to do in the foregoing Passage, it 'Must be ac-
knowledged, that the public at large are deeply,
interested in dramatic affairs. The Stage
.ttas
been humournusly styled " An Er.eiiing School for
grown' Ladies and Gentlenten," anti it is by no
means improbable that many of the visitors of
thra school, are nut likely to learn in any other.
But they may learn much advantageous and im-
portant knowledge in the Theatre, and therefore
the conduct of it demands the particular atten-
tion of the public. It Was said, in an address to
Mr. GARRICK,—

" The nation's taste depends on
" Perhaps the nation's virtue too. '
And it is certain that most valuable improVeMent
may be derived from the Stage, in point .of ,
mo-
rality, noble, just, and benevolent sentiments,
well as high notions of virtue, to say nothing of the
grace of external deportment. Much also depends
on the manner in which such lessons are inculcated
by the Performers. If they are expressed with
energy, dignity, and elegance, and the Actor ap-
pears to feel what he utters, lie May effect more
than the noblest Poet can excite without the aid of
personal animation. It is on record, that Ross, a
respectable Actor in former days, received an an-
nuity of 501. from some anonymous patron, who
assigned as a reason for his -bounty, that he had
received such a powerful impression from the
manner in which Ross had performed the part of
George Barnwell, that it had warned him front li-
centious courses, and enabled him to pass through
life with such a regard to prudence and good con-
duct, as had been of important use to his charac-•
ter and fortune. The annuity probably conti-
nued till the death 'of the donor, and if so, it is
to be regretted that it was not secured-for the life of
the Actor, whose performance had been attended
with such beneficinl consequences, as Ross sunk
by degrees, and at last, in the decline of life, was
unable to procure an engagement at a London
Theatre, though in his prime he was possessed of
such talents, according to report, as would have
made him conspicuous in the present state of the
Stage, and might have been rendered very use-
ful in his wane, in characters suited to his age.
My reason, Mr. Editor, for addressing you is,
to say a few words in behalf of the theatrical com-
munity, who, notwithstanding the influence of
their talents, and the popularity which' may at-
tend them, are perhaps in a :more precarious
state than any other class of society. They are,
in fact, wholly dependent on the power of a Ma-
tager, and however binding may be the articles
in which they engage on boas sides, the forme'r
are always exposed to the dictates of interest or
the suggestions of caprice. If a Mattager wants
to get rid of an Actor, he has only to impose
characters upon hiw to which he may have many
reasonable objections. Refusal to perform is at-
tended with- forfeiture. The Actor's laudable
pride is wounded, and perhaps he is at length dis-
gusted ;nto resignation,., and obliged to wander
from all his connexions, in a precarious- and hu-
miliating pursuit 'of subsistence' elsewhere. The
'question is not whether the present Managers are
disposed to con:luct themselves in this manner,
but whether those who have gratified the public,
and i isen to merited diitinction, should he obliged
to remain in .so uncertain and so mortifying a
situation. That Actors may over-rate their
talents, and 'be capricious in their conduct,
must be admitted,' but in that case, the Ma-
nager . has it always in his power to employ
a substitute, and to appeal to the public upon any
real misconduct on the part of the Actor. But
to whom is tire Actor to appeal from the caprice,
injustice, and interested views of a Manager I
Not to
_the Prattle, for if any persons rouse in his
cause, in the Theatre; they may be punished for
a conspiracy. We know that Actors and Actresses
of considerable merit have been dismissed from
their stations, when the Managers thought that
they could do without t hem, either because new
Performers came forward, or it was deemed more
profitable to render dramatic spectacles the chief
object in view: In short, nemeroua instances
can be adduced which show that theatrical ma-
nagement has often been a kind of domestic
despotiSm; that operates grievously, it not un-
justly, on individuals,' who, after having sacri-
ficed all other hopes, and devoted themselves to a
particular calling, are unable to subsist by any
other. The Critics of. the Newspapers are often
harsh in their strictures upon new Performers,
and young Authors, but in general they seem to
be very tender of Managers,, though the conduct
of a Theatre, being a national concern, demands
an atten. ive causideration to which all Public
Writers should have a' due regard. If Performers
in the higher provinces of the art require great
qualifications, great qualifications also are requi-
site in Managers. They should possess a classical
education, a sound judgment, a refined taste, au
extensive knowledge of the English drama, and
last, not least, a liberal, disposition, and a strong
sense of justice. Otherwise, they may treat the
sterling works of our best dramatic Writers as they
too often have treated: the Performers, by leaving
the former on the shelf; ant:, by neglecting the
latter, drive them 'to the desperate course of a
relinquishment of their engagements, when they
.find that they cart no longer retain them consistent
with a due sense 'of character and. at allowable
impulse of self-estimation. I am as notch an,
enemy to play-house riots, arising from un-
reasonable requisitions on the part of the Public,
as any admirer of the regular Drama can be, arid
I am fully aware of the constant •expence which
must attend a Theatre, while its profits are ne-
cessarily uncertain ; but when an Actor or Actress
has excited general admiration, and obtained the
seany of popular favour, the Public have a right
to expect that their pleasure should not depend on
the capricious will and arbitrary-power of a Ma-
nager. PATENTS were not granted for the were

.• . `benefit of tt Proprjetors of Theatres, but to
afford a rational .enjoynient to the people, and
thetcforerniethinA of a..MoRAL coNTaotn, be-
longs_to THE Pu'it.l6.. I hope; Mr, Editor, if
the higher concerns of the country should occupy
too much of your time ;o, admit of your attending
to the regulations of the. 'THtATtirc,it, STATE
yourself, that you will, at least; let the colionus
of your. independent Parer be open to all candid
itnittladver,sions uPon the conduct of Managers, as
wrell.as to rem,,,r,ks .on the wk-3 or of
dramatic‘Vriters,and the exertions of PerfOrmers,
The Theatrical Session will 'soon be opened it
becomes you to watch the proceedings of both
Ilouiea, and to prove that you are neither the
skive of a Minister of .State; nor' the tool of a
Manager of a Play-hotis'e:
Piaz;a, Coffee-house, An..;. 20.. X. X.