The New York herald., 1873-12-12
STAGE REFORM.
Dion Boucicault Gives His Views on the
Theatre of the Future-New York Too
Critical-Italian Opera Sensuous-
"Anti-PufP Defends Our Critic
and Attacks Led Astray."

Fifteenth street, between Broadway and Fifth ave.
nue. The number is 20, and the oOns utUdnts Of this
city know IL well. The second moor OF this house
is occupied by Mr.. Bouccault. Having ascertained
that "the master spirit OF the English stage" was
at home, the HERALD reporter was promptly shown
into his apartment. Two rooms thicky carpeted
and the walls hung with blue merino, the doors
taken of their hinges and curtains filling their
openings, secretary busily engaged scriDbing in
one room and Mr.. Boucicault similarly engaged in
the other, were the objects the HERALD reporter
silently admired until the dramatist had finished
concoctng some pretty speech. He rose and Joined
the HERALD reporter, who explained the object OF
his visit, and with the same curt rapidity ne shows
In his plays when he jumps at once into the ac-
tion OF the story, so he plunged at once into
business. Having expressed the hope we had not
intruded in a moment of inspiration,
Mr.. BOucicauit answered, mo. was at the mo-
ment replying to one Of the most delightful letters
have ever received; there 1t Is"
He handed to me letter, which proved to be
from the company OF Union Square Theatre, pay
ing Mr.. Bouccault many delightful compliments
on the excellence OF his new play and thanking
him for the help OF his experience in preparing
their several roles.
REPoRTER-You have stated that you have the
intention OF making the attempt to revive the
legitimate drama in New York.
Mr.. BOUcICAULT-I have arranged with Mr..
Wallack, MIR. DAILY and Messrs. Shook Palmer
to try the experiment upon the public at their
three theatres almost simultaneously. The new
comedy at Wallack's Will be produced in Christmas
week. Mr.. DAILY will produce my third comedy on
Monday, the 9Th Of January. Each OF these works
requires audience OF the highest intelligence to
understand 1t. They are comedies OF character
and conversation, IN which mel0dramatic NOW
called sensationaD effects have been avoided.
REPoRrER-Which do you consider to be the best
OF the three2
Mr.. BoucIcAULr-The most experienced dram
atist cannot undertake to distinguish the merit Of
any work previously to performance. The public
alone can decide In Lied Astray" Ihad the as
sistance OF Octave Feuillet. In Wallack's piece
have also derived some OF the material from
others. In Daly's comedy have relied on my own
resources You may therefore fairly conclude that,
two heads being better than one, my original
comedy will not be the best Of the three.
REPoRTER-ls it fair to ask you the title OF the
comedy you have written for Mr.. Daly's theatre
Mr.. BoUCIcAULT (ater q little hesitation) We'll,
it Is called 1.-THE Bridal Tour"
RgPoRrER-Do you call LED Astray' strictly a
legitimate playf
Mr. BoUCICAULT-Strictly So II legitimate, as
applied to the drama, means anything, 1t signifies
u
exhibit character. The interest in true sel.iedy
lies not in following the incidents, but in watching
the development OF the characters subjected to a
series Of incidents, which should not be more nu-
merous than necessary for that development.
REPORTER-You maintain, then, that Lied
Astray" is purely legitimate playa
Mr.. BoUCIcAULT-As purely so as any that have
ever been presented as such at the Theatre Fran
Gals. wnere tney are critically sensitive.
~
Mr. BoUCICAULT-It Is not immoral as
"Othelo," nor as the ''Sch0o Tor Scandal" nor as
OF convention, as dccencv is a matter OF fashion.
We expose to-day what we covered up century
ago.
REpoRTER-Have you any faith in the result OF
your experiment on public faster Don't you
think the audiences OF the day are degraded by
'.Black Crooks" and variety shOwsp
Mr.. BOUCICAULT-l think they nave had surfeit
OF such entertainments, and, although there is 0
large section OF the public who desire sensual
spectacle there is an important minority craving
for more intellectual 1000.
REP0RTER-You mean the upper classS
Mr. BOUCICAULT-NO, do not. This upper class
is devoted to sensual entertainment OF another
kind, much more destructive to the drama than
"Back Crooks.n
REpoRTER-what do you means
Mr.. BouClCAuLT-l mean the Italian opera; that
bastard, misbegotten creature Have You ever OBJ
served the expression on the faces OF an audience
at the opera2 How sensuous 1t is: how full OF ami
NAL enjoyment! The science OF music can no fur
ther go than the captivation OF the senses. III
simply pleasure q sweet and very innocent one,
l admit, but the nonsense that is writ
te se erases eeUa singers snce ere Is
not one OF them that would be tolerated in third
class theatre as an actress. Music, like Charity
covers up q multitude OF sins in them. Yet the
acting OF these artists Is lauded above the SKIES
believe THIS Is tue mania OF the century. From
Minstrels music hath made idiots Of us all. 1t is
the aesthetic stimuant OF the day and we are all IN
the condition Of harmonic delirIum tremens.
When nation becomes thoroughly musical, as
Greece did in its decadence, as Italy has done
within the last 800 years, II is sure sign of Soften
ing oil the national brain.
kEpoRTER-You maintain that music had no
right to invade the drama in the shape OF opera
Mr.. BoUCICAULT-It is properly an adjunct as
scenery, or costumes but opera Is hybrid crea-
turc. j speak as one who has written operas;
mean, or course, the words Tor an opera. The re-
ton OF the subject. For example, assisted IN
arranging my drama. the "Colleen Bawn," for an
opera Tor the composer sir julius Benedict, inc
grotesque. All that was dramatic and poetic ned
from the subject. II lost all shape and symmetry
The charm OF the music was hung like golden
drapery over the wooden thing, and IL served as o
hideous lay figure serves to exhibit the graceful
folds OF a mantle,
REroRrER-I see you are not enthusiastic about
music.
Mr.. BouclcAULT--I am. in its proper place. I
specimen OF pure aesthetics ever imagined. OBJ
lect to the musical drama as would 10 wooly
REPoRTER-You believe also that it indisposes
large and wealthy and educated class OF the CON-
munity 70 visit the theatre.
Mr.. BOUCICAULT-l am sure OF 1t, The higher
class OF drama calls on their brains for too much
effort 1t not that they want brains, but their
brains dawdle.
KEPogrER-Do you expect your new comedies to
be played in New York as well as they could be
played In London or In ParisY
Mr.. BoucIcAuLT.-Much better than they could
be played in London; not better than they could
be played at the Theatre Francois, at the Gymnase
or at the Vaudeville. The performance OF Led
Astray," at the Union square Theatre, Is better
than any have seen In London since 1874. NO
theatre In that city has q group OF artists like
those employed In that piece. II selection were
made from all the comedians In Great Britain l
doubt If single company could be collected to-
gether to play the s'School for Scandal' In man.
ner that would be tolerated In this city, The truth
is New York has Deen spoiled and Is not aware OF
wnat excellent theatrical entertainments IL has
got. 1t has been surfeited with the cream OF all
that was good in Europe, and 1t has put its
standard Of excellence too high-Iar above concert
pitch. When ! saw that performance OF lied
Astrayn-puttng aside my piece altogether-I felt
the audience did not know now good II was; and
when perceived In the journals the cool way in
which they spoke OF the admirable acting was
sure my impression was right.