New Orleans Republican., 1871-01-20
Sensation W. Burle s4ue.

The attcnuated character of the audiences
that have meagrcly patronised one Of our
theatres during the past three weeks, ought
to serve as an example to managers of the
waning demand for the fro:hy, unstable.
| anatomical drama, too frequently called
burlesquc.
In this country, there has never been but
one genuine burlcsqne actress. an English
woman, identified though. with the Ameri-
can stage, through an enviable career of
several years. Many of our readers and the
old h1DAtues OF the late Varieties Theatre.
will remember Mrs. John Wood. the memory
of whose artistic performances lives with II,
like some pleasant dream.
In the recollection we recall b.rlesCuc in
all its integrity. before Vulgar localis'r-.
coarse double entcnires, and bold political
allusions We're tolerated. and hence rarely
indulged in when Planche, the Brough>.
and an adopted John Brongham were the
/ genii of bur!esque, the product OF their
brains yielding Il harvest of Wit amt hulnor.
where now we have only chat, indecOrous
attire. u plentiful display of iudifleren!
vocalisln. and "A snperibundance o1 Ncti-
tious anatomy. affor'liny sad commentary
upon the times.
That the public taste IS undergone. one
Of those transitions as characteristic As ii is
sudden. is lately evidenced i'll the iml.ta
osity with which it turns iutO more
genial field.
Lucille Western has come 20 our re.ie:
Just the public NAV crave. a change nt
diet. While there will always exist differ
encc OF opinion as TO the value OF the lesit.
| mate over wla: il styled the emotional "-
sensational drauia, yet none "an logically
dispute the close relationship they bear
each other. That which We are IN the habit,
of calling the legitimate. as Hamlet. Tor
example, is nevertheless highly .ensationa!
III its dramatic action-:;s story and IL
very purpose. Indeed. u !. only IA thos"
plays wherein the element %! sensation OBJ
tains, that the iinmoT.. oar! il familiar.
The only readable one. OF Shakespeare :
plays are not representa-. because they aye
devoid of that very gen. oi dramatic vital.
ity-yclept sensation. E.vest Hamlet.
'.Machcth.' "kichar.i' and "t:hel!o" Of
their sensation. leaving on ' men narrative.
and tcdiouSnesS wOul.. drive then. from the
stage.
Critics are too prone - "onp!l;l, "i the
aSccndancy of the sensational. '!rama.
ascribing the cause to the v3,iated taste On
the part of the public. Sucl, Is no, 'he fact.
If the purpose of the stage ee 20 hold tn"
mirror up to nature. then are the Bouci-
| caults, Taylors, Robinsons. Days and other
| writers of their calib:c valuable acccs>O-
| ries.
That they are succe,s:l! piaywrish,s. is
due to their knowledge Of human nature.
and its love of amusement. They know very
well that people do not go 20 the theatre for
anything else. 1t is for recreation and a re-
Taxation of the mind after The cares Of the
tay are at an end. Hence tie construction
Of their plays tends to please the eye and
touch the senses, and does not require an
audience of ascctics to uuravel the mazcs
of an intricate plo4 We greet. then, the re-
turn to the regular drama right cordially.
Nor do we object to burlesq,le when COM
posed of the proper ingredients and led by a
cultivated artistic. We confess 10 u weak
ness for physical beauty. but not unattended
by vocal or dramatic talent, which should
hcightcn its charms and e:-ha,cc its '!ula-
bi.ity.