The evening telegraph. [volume] (Philadelphia [Pa.]) 1864-1918, 1869-10-19

The real merits of Robertson's pieces are well
understood by the public, in spite OF the efforts on
the part OF some critics to elevate them to posi-
tion they cannot claim, and OF others to degrade
them below the level where they really belong. The
real weakness of the drama of the present day in
the lack OF competent playwriters. We have quite
as good acting, on an average, as former genera
tons and in stage appointments and all the appurte-
nances OF the theatre we are far IN advance OF
former times Dramatic writing only has fallen into
neglect, and really good play is so rare thing that
1t is apt to excite unusual interest when 1t does
appear. AS every playgoer knows, the majority of
the pieces now written distinguished by
an inanty OF language that places them beneath
contempt as literary works and they depend entirely
for success on scenery and mechanical effects that
ought to be only the accessories to weldrawn char
acters skilfuly woven plot, powerful and effective
dramatic situations, and wit, passion, pathos, and
sentiment in the dialogue. No sensible person will
object to sensational effects for every great dra-
matist, from Kschylus to Shakespeare, has made
use OF them, and In manner that B0ucicault and
Daily when rackng their brains to find work for
the stage carpenter would not dare to do Rschylus
and Shakespeare however, have given us grand
and noble poetry or they would have
been forgotten long ago, and the
success OF their plays did not depend solely upon
the scene-painter and machnlst. II this was an age
OF great dramatic writer's, Robertson would scarcely
take the same rank he does now; but the qualities
plays so far as they go, real works OF art. He
has rare faculty Of throwing a charm about SUBJ
jects that in themselves are commonplace and often
trivial His plays are fresh bright and pure I'm tone;
and 1t is creditabe to the taste OF the public that
they like them, ana to the dramatist that he can
make such subjects attractive without resorting TO
the clap-trap devices that the Buuccault school OF
dramatists lind necessary.
Progress, produced at the Arch last evening Is an
adaptation OF a comedy entitled les Ganactcs by
Victorien Sardou. 1t is, apparently, .tolerably
close copy Of the original, it lacks many of the
characteristics OF RobertsOn's STYLE aud it is more
vigorous performance than any that he has yet
given TO the world
The scene is laid in an old English abbey, removed
from the centres OF civilization, ana inhabited by a
set Of old foges who delight in contemplating the
good old times and in declalmng against the pro-
gressiye spirit of the present day that is fast obte-
rating the old landmarks. Love, however, comes in
to aid Progress in defeating the fogles. daughter
OF the house of Mompesson cOnceives an affection for
young engineer and, falling into a severe illness,
her relatives are obliged to consent to her receiving
the addresses OF her plebeiau lover as the only
of saving her life. The theme is well worked out, and
| the argument between fogylsm and progress fairly
| stated.
The love story is very beautiful although the spec
! tacle OF sick grl,wih a consumptye cough, IS any
thing but pleasant; and we could we'll wish that the
requirements OF the scene did not render 1t neces