The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1873-03-16

authority ''that the Beard of Aldermen has
already been tempered with, and promises Of
place and plumber made to the supporters Of
the new charter" and adds
While this charter Is in some respects an In.
provement on our present charter in its most I'm.
pertant features and notably In that one which
PROPOSES T. deprive the mayor Of tie appoinna.S
the Board Of Aldermen, 1t Is only new Ring dOcu-
ment, pushed by Ring rcpub leans for Ring Pur-
charter will obtain Governor Dix's signature; bat
II 1t should, after Mr.. Green mas been remaved and
SETTLE the Eve or six niIsns OF unadjusted claims
which Ut present are not allowed, they VIII then,
PrH1DsDy, open their eyes vide enough to see the
0incrence between true and pretended rcfOSmen.
The revival movement continues TO progress
most fayorably It il no Credit Mobilier
flicker or spasm of the spirit of Arace, but tho
substantial workings Of a deeh-rooted and
widespread love Of righteousness.
Tho Theatres-How Ought We Receive
sardou's ssUncle SAINT"
Changes in the bills of our theatres seem to
be made on the principle of the old motto "It
never rains but it pours." Sometimes the
pieces at all our places of amusement run
smoothly and together, and then change of
the play at one house is the signal for change
at nearly all the others. For weeks we have
had no notable dramatic event; but when the
Centenarian OF the Union Square gave up
the ghost it was only to be followed Ivy the
withdrawal of half score of equally sue
cessful plays. With the exception of ''David
Garrick' at Wallack's, which has had an I'M
usual lease of life, all the other comedy thea
tres will have new plays next week 'Alixe,"
at the Fifth Avenue, yields to "False Shame"
which was interrupted by the burning of the
little theatre in Twenty-fourth street Mr..
Boucicault comes back to Booths with new
play of his own which he calls Daddy
ODowd" This is drama in which he delin-
Gates rs IN actor his work as dramatist, and
is to give us another glimpse of Irish charac-
ter in vein as truthful as that which he
exhibited in his cabinet picture of 'Kerry."
The Grand Opera House also enters the list
of comedy theatres and offers for public
amusement NJ Sardou's much talked of play
of ''Uncle Sam" Our readers are aware that
this play is the one which Ghe French authori-
ties would not allow to be performed in Paris
because it was supposed to be offensive to tho
American people. In consequence it has been
the subject of great deal Of gossip, and its
first production here has much of the flavor of
genuine dramatic sensation.
In view of all the circumstances, it is not
surprising that there should exist a strong
desire to see 'Uncle Sam" We are told that
the play is pure comedy of the French school
IS in nd hat ;&c
author is one of the best comedy writer's Of
the day. Because it deals with American
manners and types of American character was
no reason why the play should not have been
produced in Paris, and is reason why it
should be produced here. While We
recognize the compliment which was
intended by its prohibition, we can not
regard that prohibition by the French gov
eminent as in facts compliment to the Ameri-
can people The French official action pre-
supposes a sensitiveness which we believe
does not and which certainly ought not exist.
'Uncle Sam cannot be . severer satire upon
American life than was ''The School for Scan
dal," for instance, upon the higher classes of
English society century ago. Even Frank
Marshalrs quiet play, "Falss Shame" is in
itself as severe reflection upon English SO
ciety to-day as M. Sardou's most barbed
words can be upon things which are supposed
to be distinctively American. We could not
do our countrymen the injustice to suppose
that they would refuse to see themselves ON
the stage as they are in real life, and they GER
tainly would not refuse to look at themselves
through M. Sardou's spectacles. On the
other hand, we believe that wherein the French
dramatist has drawn faithful picture of our
admire his skill, and where he is in error he
can only afford us occasion for q smile.
We observe disposition on the part of some
of our contemporaries to decry the manage
ment of the Grand Opera House for the pro-
duction of this piece. We cannot join in any
crusade so useless. Indeed, we are rather
pleased that the first distinctively American
play, by foreign dramatist of acknowledged
merit should be first produced here, and
especially under the circumstances of an over
sensitive regard for American sensitiveness.
In common with most of our readers we are
anxious to see how the Frenchman has painted
us, and we shall not take umbrage at his pic
ture unless it is daub. The management is
to be commended rather than blamed for the
enterprise which led to the production Of
"Uncle SAM" and with the resources of the
Grand Opera House the piece ought to be a.
well mounted and played as it would have
been at the Gymnase or the Odeon. Properly
produced the play has claims upon us, apart
from any morbid curiosity as to the ill-natured
things NJ. Sardou may have written. 1t il
presented to us as picture of ourselves, but
we care not to look at it merely on the
grounds which impel most people to look at
themselves in mirror. 1t is the mirror itself