The sun. [volume] (New York [N.Y.]) 1833-1916, 1875-10-25
Why we Do Not Get our Great Amerl-
can PIny.

Mr. CHARLES GAYLER, gentleman who
bears about the same relation TO the
American drama that topper HOLLAND
does TO the American epic, lately UNDER
took TO explain why we do not at present
produce native drama that succeeds with
theatre managers and the public. The
cheapness of foreign plays is one of the
reasons he assigns for the failure OF the
American playwright; the necessity which
that industrious person is under of
writing plays TO suit the whims of charac-
ter-acting stars is another; but the fact
that the managers are afraid of the news
paper critics, who, according TO Mr.. GAY
LER, have each an original comedy in his
desk, is, in tho opinion Of this authority,
the most insuperable obstacle 10 the pro-
duction of high-olass plays by native
authors.
Mr.. GAYLER's explanation OF the reasons
for the weakness Of the American drama
is not satisfactory by any means. 1t is not
the choapness of the foreign plays that in
duces the theatre managers TO offer them
TO the public IN preference 10 native ones,
but the fact that the public prefers
TO see them. To what lengths the
managers are prepared TO go to
secure the representation OF a foreign
play, we lately saw in the expen-
sive litigation over " Our Boys" and Rose
Michel" AS with the novels Of foreign
authors Of great Iepute, so with the works
OF foreign playwrights of similar populaIi-
ty, the competition for them is so great
here that the prices they are able TO obtain
make their productions anything but
cheap. A manager, like book publisher,
is just rs eager to get work the public
will wish to see, as the writer is 10 have
him take it, The percentage he pays the
aui hor he can well afford to spare out of
his profits, if what he gets draws the people
10 his theatre and fills his treasury. Mr..
BoUcIcAULT finds no trouble in disposng
Of his plays, and managers do not be-
grudge him his price. They see their
profit in his work. No playwright has
ever been more assaled by the critics
than he, yet he does not have to hawk his
plays about, nor is he given TO abusing the
managers because they pigeon-hole his
productions. Whatever Mr.. BoUCICAULTs
faults may be, and wherever he may get
his material, he certainly knows how TO
construct good acting play that interests
the public and gives the actors opportunity
10 display their powers. Nor are DUMAS,
OCTAVE FEUILLET, and SARDou admit
ted TO New York theatres because they
sell their plays cheaply, but because they
make plays that the managers find are
acceptable to the public.
As to the writing down to character
stars that is only the resort Of playwright
unsuccessful in plays of more general adap,
liability. AS to the enmity OF the critics
that need never be fatal to a good drama
The public may, in their ignorance of pic
torial or plastic art, pin their faith to the
art critics. They may even fear to acoepl
their own Judgment in music; but they
| require no critical certificate to bias theil
estimate Of play. A critic cannot damn
| good play. The audiences are their owl
! critics here, and their interest does no
accept thu gauge of professional exper
In dramatic work
| The failure of American plays is due t.
other and very different causes. Primari
ly it is owing to their badness. 1t Is no
surprising that dramatic achievement /
not frequent among us. We still wait To-
generation for the great American novel
Can we wonder II we also delay as lonI
for the great American playi Tho sue
cessfu dramatic writer is not a product o
all times and peoples. He is now rare II
England, in spite Of the luxnriance o
English literature. Even in France. tn
most dramatic OF nations, he is not 81
frequently to be found as to make him