The New York herald., 1874-10-25
What American Authors Have TO
Say About Themselves.
What an Old Manager Says on the
Same Subj ct.
Wanted-An American Author Who
Has Nothing to Say About His
Play or Himself
DAILY ON DAILY EFT AL.

VIII you permit me to say that think there is
some inconsistency IN the position occupied by
large portion of the press OF this city toward the
"American dramar' The Inconsistency lies in the
importunate demand for native plays, and then IN
she systematic condemnation OF such plays when
produced. IL We have not an indigenous drama
now we evidently wish to foster the growth OF
enc; but we shall hardly succeed II we cut the
young shoots up by the root and belabor those
who trying their best 10 cultivate tnem
] submit that the only people who have en-
aeavored to establish an American drama so lar
are the authors and the managers. Journalists.
and particularly dramatic critics. have not assisted
IN the WORK. They have, IN fact. done and are now
Aeng their best to discourage IL. DO not believe
they are aware OF the fact, but o little rejection
viii convince them OF IT. Let US take the history
ef tins season. "Belle Lamar" was produced as
m American drama 1t was founded upon q series
OF actual occurrences In the late war between
the North and South. The characters
were noticeable for traits Of indlvdu-
alty, carefully studied from models living
ana dead easily recognizable and distinctly
American IN type. This play was denied all claim
to the title OF an American drama by the press
because-mark the reason THE incidents might
have occurred IN any other country besides
America II was not sufficient that they were
cOniessedly local; they might have taken place
else where, and therefore they we're not American
ssThe Glded Age'' was produced soon alter. Critics
were rather bothered here, or there stood "Ccio-
nel Sellersn true Western character. But the
attacking party were not to be repulsed
by the gallant Colonel, and they declared
II still doubtful whether this drama were
the coming American play or not, since
there but one distinctive American
type in It, II was not sufficient that the play dealt
with one subject and involved one class II ought
TO take in every possible American cnaracteriza-
uOn In order to be truly American. Immediately
after came .'Moorcrot." This play is founded upon
state OF things which existed nowhere save in
she United States. The characters 1t presented
to be seen every DAY in every part Of our country
Tne attacking party, however, rallied in force;
they judiclousy passed over the plot in silence.
for that was unquestionably American. and fell
upon the dransatts persona with The dreadful
charge that they might as well be English or
French as American. As II Americans
were creatures possessing characteristics
common to the OF the human race
1 wrote three American dramas myself
''Div0rce," "Horizonn ana .Under the Gasigh ght.n
forget what reasons the press gave Tor outlaw
ing these native dramas, but they did deny them
the right OF American birth aud citizenship. l
enly recollect with pleasuraole sensations the
public verdict on them. In consequence Of that
verdict these dramas have remained IN the coun-
try, with every prospect OF permanent residence
and influence. The author OF "Moorcroftn has
submitted two other plays to the public, Sara
toga" ana Diamonds" each claiming distinctly
American characters. In addition to dramas
founded upon American subjects there
are scores OF plays oy native authors on
our osn COUNTRY Jonn Howard aylaso Payne
Willis. DR. Bird J. Il. Boxer, George p. Miles,
Hasmsn Mrs aoSe n and nany Others have cnn ars
tributed to the acting drama OF tue United States.
lrecite their names and tneir works to show tnat
hay "a fri
cal literature has ITS Drliant and successful
v0taries; that in TACT, the thlng asked for Dy the
press exists, Is growing, Will attain an enviab.e
p0sirlon the dramatic annals OF the world. only
the press does not seem to be aware oil the fact.
Authors and managers have been steadily laboring
30 produce the iruit desired. The puolc have
tasted and approved The press only has eyes
and sees not. l claim Tor these labors OF authors
and managers recognition trom the great power
whicn can be 80 npai tial and 50 Just when it
peases. do not speak Tor myself as one man.
ager, but for all managers in the United states
whose desks are loaded with manuscripts from
American authors, and VINO are forced to acknowl-
ecge tnat u IS dangerous experiment to produce
such plays In the lace OF the dete rnlned hostility
0flournalsts American press writer's are proud
OF everything American except otner American
writer's. IL should be the glory OF the New YORK
newspapers that there are New Workers capable
o. writing PLAYS that delight great audiences night
after night; eacn new effort should De heralded
with pleasure and the pubic should be informed
that the WORK OF establishing native drama
10 progressing. or Criticism can
compla,n; perfection will not De attained BY mus
crlminate praise. Errors should be vigorously
pointed out, but merit should he poinfedly rec
Ognized. The dramatic critic. dealing with the
native drama forgets naU his duty. He blazons
the imperiections Of the WORK and leaves the
world 10 ind out its good points. This discour-
ages antnors, but It does worse In the case OF man
ayers; 1t ID calculated TO deter them from under
takings which entail shower OF abuse. / chsl-
lenge the production OF a single he wspaper article
from the hands of single dramatic critic winch
praises manager for giving native authors q
IaAr chance with tue public. Inc success OF new
plays IS always proDlematlca WHAT reads wen in
the closet often proves failure ON the stage.
1t - not with the certainty OF making money tnat
native author He does 1t IN state OF glorious
end exciting uncertainty on every point Dut one.
The new piece VIII De abused by American critics
for the sake OF It's American paternity. He must
therefore. be actuated soley by desire TO nelp
the cauAe OF national literature. The only way 10
get an American drama Is to have American mau-
ayers produce the plays sent 70 them. suppose
the Harpers or the Hors, tue Osgoods the Apple
tons or the Cartons or any other native puo-
llsners were discouraged III the production OF
novelisss take their works. TSs Tae naiTe man.
ager Is the publisher OF plays. Is ne
or Is he not TO oe encouraged IN the effort TO pro.
duce them Which newspaper will begin by ad-
vlsing managers TO accept and produce pieces by
American auth0rss Which journal will be toe nrst
to call public attention to tne beauties as well as
The detects OF such works when produced 7 why
does The press demand the American drama and
knock in the head each effort to comply with the
demand 1 particularly ask you 70 believe that
tnis Is not In any sense complaint inaI the Amer
lean public does not patronize the aromatic woras
OF ITS own countrymen IL does aud IL must be
greatly astonIsned TO read IN its morning papers
abuse OF what 1t mas apDlauded the nignt before.
The CONVICTION forces Itself upon the minds
Of the average playgoer and newspaper reader
that the dramatic critic Il behind the age think
II Is time for the doing censor 10 wake up and
oenold the American drama already established
anu progressing. was once dramatic critic
myself H seem TO cut up the critics Ii Is be-
cause the Old critical habit IL strong upon me and
must slash. ! feel FOR the writers VINO review
plays; have seen their embarrassment many
Smes Nhen they witnessed good play
and felt that there was something in nc
whch deserved praise. The weak points
o. tne composition, then mad TO withstand a
mercer assault. II II have no weak points lis very
merits are sometimes he!d ap 20 condemnation.
'lnus ID "Moorcrolt" oeealse character Is por-
trayed with intensity and dehneated with strength
We are informed that no American ladies' and gen
tlemen would conduct themselves as represented
IN the plav. Because the author makeg MA ner-
sOnages WHY and does not permit the inauitles
Of common conversation TO hOw from their nps
ehey are said 10 be unnatural. Because In,
contrasts OF good play demand toll or
lQher Talk 10 the naahea cf h..-n.