New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1874-04-08
EASTER ADJUSTMENTS.
A DRAMATIC REVIVAL.

satisfactory, and Che latter not particularly cheer
ing; yet there for contentment ana Some
ground for hope. With the notion that IN our time bs
stage declined from rosy peak Of excellence that
u occupied in the last generation do not sympathzs
That ia the trite and faacous theory OF shortsighed
Observers who draw their inference from cOnompla-
ton OF only brief period in theatrical history. Tho
ngsh stage not counting in the preparatory era or
the Miracle Plays Is about three hundred years OLD
Tho American staGe-its ofshOot and proongatioR--
dates from 1885, and has grown and broadcncd through
hundred and forty years. Both have had the expo
rience universal with human institutions. OF alernat
Ing periods OF prosperity and decay FLUCTUATIONS
here, however, to have been somewhat more ire
quent and violent than in England. for the probaba
reason that endowment has at any time been
here interp0sed between the fortunes OF the stage
and the caprlces OF crude public taste. With us, In
other words heaters have invariably been depend
ent; and whatever Is dependent IA apt TO be servie
Except when cOorced by tul reyiya Of public Interest,"
IN the true drama, when temporarily commanded or
controlled by the enthusiastic zeal Of men OF genius and
evoteos Of art the shopkeeping spirit has prevailed Id
the administration of the stage and the untempered
bookkeeping spirit brings down tho tone OF the theaef
and the tone Of everything else. That influence pre-
walls Just now and the presents theatrical period com
parauvey barren and certainly tedious IL would De
about as logical and sensible though, TO maintain that
mans constitution fatally undermined and impaired
because he Happens be suffering with cold In the
head "a IN infer that the stage degraded and ruined
hocause n bancens be incumbered with catchpenny
entertainments ana the transitory devices OF money
rubbing SPECTATORS. 1t little salow 40 to speak
and needs purgaton; but its 10 not desperate. and
there is call for either walls or tears somewhat
seduous persisency in looking out for number obe-s
state the fact in mild termS-has deeply marked our
civilization. OF late and it ought to surprise no think
ing observer that the worhiest cotemporarys workers
for the drama have somewhat lost heart and that ths
heater has taken its prevailing color from its common
place and mercenary surroundings AS the community
u.s. is the stage that directly depends upon 1t for sym
| patty and support.
At this time the community to beon the eve Of
great changes and OF these there is to think
is change the better in the OF the STAGE Ma
lower deep theatrical barrenness be reached. In
| the slow revolution OF tho wheel OF many-coored
spokes-the familiar typical emblem OF human affairs
| it is apparently, the golden spoke that must como
uppermOst Either we are to lose the drama fors
time and settle down into ignominious contentmeni
with broOding tumble OF yartees-accepting Lottas
| banjo and King sambrO's aerial tghtrope as the high
water mark Of our stage artor we are to welcome In
again period Of good dramatic literature interpreted
by competent actors and TO enjoy the efforts
OF the highest ambition and the best talent tnat arr
| contemporary In the art OF acting. We mention the
former of these alternatives but we deem its occurrence
| impossible in an educated land The mere vanity OF
human nature has way at intervals Of insisting upon
squirt intellectual effort; and that vanity has been
| of metropolitan stage overrun with concerthsh
fOoeres and with those calow and puerlo travesties
| OF comedy that are loathsomely known as 80
| ciety plays" We build a hope Of better theatrica
| times, in part upon this consideration, but mora
largely upOn symptoms OF revolt or the lntellgens
| playgoers against being any longer addressed
assembage Of idiots. During the present theatre
| cal seasOn-now two-thrds wasted away-these play
goers have as practice sustained what excellent
and avoided almost everything else. That they have
not much to fault OF theirs They tooh
the right attitude the beginning Of the season, and
they have steadily maintained it, Mr. Jeforson's en-
gacement az Booths Tneater OF the most pros
porous he has ever played. Waack's Theater has
maintained IFS supremacy by good plays and good act
| ing, ana Mr. Wallack himself, by more than ons
thoughtful and brilliant representation, has deepened In
the public the OF peculiar talents and spark
ling grace unmatched elsewhere In his profession Sal
yni with the drawback OF speaking foreign language.
was nevertheless exceedingly well attended, and had
that great actor been able 70 perform in English IL
seems certain lie would have equaed In popularity
and in critical esteem the best renown of Forrest II NOT
OF Junius Booth Mr.. Rowe's fine play of The Genevs
Cross had correspondingy fine success. Miss Clsh-
mans Readings from Shakespeare were SO prosperous
in every sense that she has determined TO read here
again. These particulars illustrate the fact We have adj
duced-and 1t is fact of happy significance The only
eectal way TO rebuke the iterate and sordid huck'
sters who manage heaters on the theory OF Give EN-
|
stay away from their trash, and leave them to pay n
| expenses That way has been largely taken in New
York and the indications that Ii will be seadfasty
followed IN which case theatrical managers WHO ex'
pect to keep aoat will have to do something more than
condescend to a benighted mob. The alternative from
bookkeeping and cheap experimental subteruge Is the
| intellectual drama and the fine art OF acting.
| In a large view. however OF the prospects OF the
stage it is clear that permanent advance must depend
on the actors themselves The thing that wanted
genius acting properly developed, or talent cultf
waited TO by patient study, digent training
sedenying devotion to art, and serespecting pursuit
| or honorable prizes and rewards. The too common
policy Of considering, conectural Standards OF taste
Of trying to ascertain what will pay" and then doins
it, without regard to night tastehas nothing in il
but peril TO the Drama and will but assist In giving to
! traders aud showmen longer lease OF power and q
wider capacity for harm. Nor there any virtue In
medocry. does not impress 1t does not fascinateI
and this profession at least cannot largely prosper
| No public however discriminating and wellincined,
will long endure burden OF that respectable incubus
No theatrical manager be expected TO stake any.
thing upon that symbol Of predestinae failure. Better
hundred times tang OF Lotas banjo than the mere
| dry rattle OF the dead bones OF deolama-
| ton. IntolerabIe to gods, men, and news
| paper columns is the Solemn Pump. Him undes
| no circumstan do we want upon the stage. But
it certainly desirable that higher tone of thought
and feeling purer moral sentiment, and greater re-
fnement in the conduct Of fe together with ofiiei
Intellectual ambition and jealous industry, with.
out the sacrifice any briancy charm should pre-
vail in the dramatic profession. Actors err sadly and
lower the tons ot their pursuiL by dwelling too much
upon whet other people may possibly OF setaahy thhX
or say, and 100 little upon how they themeVes s'shu m
their own selfrespect That they alone IN toS
error not material They droop beneath it, clsss
and they ought most resolutey cast it away. Many
Of them derive che sshed and quite assinne grievance