The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1875-07-03
Tho Drama and the schools.

A stray paragraph in our dramatic column
has informed us that one of our most popular
actors is about to visit Europe ''for the pur-
schools" We do not know that we have read
dramatic item for some time that has given
us more real pleasure. The trouble with a
majority of our actors and actresses is that
they do not honestly endeavor to excel in
their calling. The deterioration of the
stage of which 80 much is written arises from
ignorance and indifference. Young people
wander upon the boards in infancy, acquire n
certain knowledge of walk and gait and pose
and voice, and catch the tricks of famous
artists. They become to a certain extent pat in
Colley Cibber, and are content to wander along
through manhood and into Old age without
becoming anything more than dramatic par
rots. The consequence is that the stage be-
comes in many respects machine. 1t does not
grow. 1t depends for success largely upon its
effects in color and drapery and painting. We
have no doubt that there are men and women,
either In the profession or anxious to enter
it, who would mai as great fame as Mr..
Kean or Miss Cushman. But there is no
school for acting Our stage directors think
only of one object, and that is to make
money. Nor do they do this with judgment;
for, instead Of nursing the stage, and when
they have a great actor endeavoring to
strengthen him by good performers and good
plays, changed from day to day and running
directly through season, their aim is to find
some one sensational piece with popular at
tributes, which they play until it wears itself
out Now, if we could have in our dramatic
profession school that would bring out the
best points of the best actors, that would give
q really good performer an opportunity, the
result would be the elevation of the stage in
New York and the consequent improvement
of the drama all over the coun-
try The ambition of the young
tragedian is to bs good Othello or good
Hamlet; but there is as much genius required
in being good Mercutio or proper Cassie
and as much honor in performing these parts
well. If we take the plays of Shakespeare it
is hard to find the part, no matter how small,
that will not test the best qualities of the best
actors. What play "Hamet' would be if
thoroughly performed; not, we mean, with
Mr.. Booth as Hamlet surrounded by COM
pany of sticks, but with Polonius and Ho-
ratio and Laertes and Ophelia and the grave
diggers, and even the poor little player with
his one act well performed. This is what they
do in France. If our actors were to bring
upon the stage the best points of the French
school they would find as much ambition in
doing small part well as in doing great
part badly. This is point upon which an
audience never makes mistake. When
"Henry "" was performed here last winter,
although Mr.. Rignold had the leading part and
did it well, the quick eyes of the audience saw
in minor actor, the stranger who per-
formed the part of a Welshman, the true
fash of dramatic genius. Although the re-
ception given to Mr.. Rignold when he came
before the curtain at the end of the acts was
cordial and appreciative, and worthy of his
efforts, yet when Mr.. Thorne came after him
there was that loud, ringing, hearty cheer
which meant the true appreciation { dra-
matte art
We have in New York some of the finest
theatres in the world for comfort, decoration
and character. We have some of the best
actors on the stage. England, with all its
wealth of dramatic talent, has not, for twenty
years at least, sent US any actors that could
compare with our own. There IS no reason
why America should not found her own dra-
matte school. Why should we not have in
New York the finest appointed theatrical
company in the world2 Why should we not
have in New York as good play house as
the Theatre Francais? Why should 1t not
become really conservatory Tor the tc ching
of true dramatic art?