New-York tribune., 1867-08-06
THE DRAMA.
BROADWAY THEATER-CAsTE.


Mr.. r. w. RobersOn's comedy of Caste
which was first acted the 9th OF last April at the
Prince of walcss Theatre in London, last evening
represented for the first time in this country nj the
Broadway Thcatcr 1t thoroughly successful In
London and IL deserves 10 be equally successful IN New
York for IL is excellent work OF art But the constltu-
ton Of American society very different from that Of the
society of England and the difference i not
altogether favorable TO the effect Of this play
ON the critical spectator. "Caste" was written
70 illustrate the evils possibly consequent upon
the making Of unequal marriages. such marriages are
manifcstly possible ana likely 10 conduce to
evil result m society that Is arbitrarily divided into
distinct , than IN society that Is substantially
homocen. . In England Baroret can marry pretty
walter-gl.-.s we see yeIacious pages Of Miss
Braddon but 10 such BcsdtaHec happen IN America.
simply because America blessed with BarOnets IN
other words unequal marriages. that violate the laws Of
caste, are less harmful republic than In mon
archy; and hence the subject of caste j less
significant and interesting the former than
IN the latter st the general subject OF marriage and
the question as 10 expcdiency of unequal alliances In
wedlock-which are possible here evcrywLcrearc at
tractiye and important In all communities; and, setting
It's ocaii,m quito aside, Caste has meaning for all
kind. Of spectators The lesson that deuce from Is
simple onc-that natures adapted 20 each other ana
drawn together by the force OF true love, ought not To
allow caste" any other obstacle, 90 prevent Their
matrimonial union The fact that the girl In
/
alcton and adversely exhibits strong and fine charac-
ter and shows herself worthy Of her astocIatic hus-
band seems 10 Justify the Inference that Mr Robertson
designed 10 approve such union. Oihcr minds, we
dare saw will nd out other morals. The final teaching
Of the comedy r. not perhaps entirely definite. But Mr.
Robertson deserves cordial praise first for graphing with
an intricate and momentous subject and secondly, FOR
treating it with much strength feeling taste, and wit
By his choice Of theme he indicates mind that studies
the age in which IL lives and by his illustration OF that
theme le eyinces keen knowledge Of human nature and
OF society, and genuine skill an artist. Thus he Is
clearly an exception among modern dramasts, who, as
rule solely moved by mcrccnary impulse who aim
at making no more than "a few situations that are
thearically effective and whose ophomeral compositions
have as little respect Tor syntax as for probability To In
dcae an intellectual purpose in play, 10 have single,
central idca and 10 pursue its development by natural
means and 10 respect the obvious laws OF art III con
strucon is to display unusual and deserve
qualified praise. Mr.. Robertson has done this IN his
comedy Of Caste" We welcome 1t TO the American
stage large audience welcomed 1t last night, at the
Broadway Theater Our description Of II must necessa-
ry be brief It's is laid London, and it, charac
terswich, by the way, are charcters-are persons OF
! the present day in point Of social rank the
principals, OF course, exhibit the greatest dispari-
| IT, young arstocrat marries balletgirl
The sister Of the baletgr Is betrothed to an artisan
And there is beside, military gentleman, connected
with the East India army who aspres to the hand OF
ady OF superior rank but does not get IT, Cupid 1t viii
be seen has shot his arrows with his usual discrimination
And drama proceeds 10 unfold the consequences
OF the marriage. This Is done most adroity In three
acts winch are rounded and finished In the most dex-
ferrous manner well supplied with incident, and com
prise dialogue that Is always characteristic and some
times brilliant We have often spoken Of precision in
pay-wrtng Mr. RObcrsOn's Caste is fine ilustra-
tion OF IL. lie has the OF symmetry lie knows
how 10 mold and fashion Materials to give characters
their requisite and natural contrasts to nnge ght ana
shade to keep trivial details in their necessary and
proper subOrdnaton 10 combine the parts into one har
lnonous whole Throughout the three acts OF this com
ey the two classes represented by the partners TO the
| unequal marriage steadily kept In contrast The
arstocratic husband has naughty mother the humble
wife has greasy, scottish old rprobae OF afather Both
| are finely drawn and most dramatically handled.
The father, especially. is a remarkable por-
| trait Of characler-a sort Of Costigdn, dear to
the reader OF "Pendenns" How well these two
illustrate the conflict of Caste the reader may well
imagine! That conflict is again illustrated In the case OF
the ballet sister herself an drtse and the gasitter
her betrohed husband. The former looks down upon
the mechanic arts; the latter has his views upon the
stage In the contrast afforded by this couple there is
good deal Of genuine humor which, will be observed is
mot uggcd n neck and shoulders but has natural
pection with the plot The sepoy revolt Is made use OF
IA an expeden part husband and wife, and lover and
mistress Then trouble upon tho wife, who Is left
M home. Her drunken father spends all her
money: news comes that her husband has been
killed: and her aristOcratc motherinlaw
epdeayors to obtain possession Of the baby But Esther
suc is her sweet names stanch and true, and bravey
suners and proves herself lady IN nature If not by
birth And finally GeOrge a. Aboy-suchi is her gallant
and high-bon husbands name-eomes Daek' and makes
ber banpy The third act is. necessarily rather over
frcbted hut the characters well handled, and the
peacefu end is neatly brought about One OF the best
single scenes in the play that wherein old Eees the
besotted father morazes on labor and steals his infant
| graDdson's coral necklace with which TO buy
LIQUOR All the scenes however, are telling; and as we
SAID In the first place. the pay Is interesting
and tuc,r dcspirc IFS incomplete relevancy 10 Amcri-