The sun., 1878-12-17
a scnooL ron MANAGERS.

The bad times Of which the theatres COM
plain seem to be in some measure due to tho
internal confusion into which they have fallen
during the last ten years Ten years ago each
theatre had vocation. Mr. Edwin Booth de-
voted his splendid enterprise on Twenty third
street to the highest form Of drama so-callcd
the legitimate. Mr.. Wallack cultivated comedy
in It's finest quality. Niblo's was devoted to
ballet and fairy spectacle. Mr. DAILY had just
invented the society drama. although what thnt
means Ia difficult to precise; no matter, II
was the DAILY drama, and was Of kind THUS
the public Of Now York accorded n specially to
each house Now all Ia confusion. The thea
tres are losing their distinctive characters. and
each goes in Tor everything. 1t is scramble.
II Mr.. Irving had arrived from London ten
years ago. he would. M matter Of course have
gone to Booths. Now no would be equally at
homo at the Union Square. the Fifth avenue, or
at Wallack's An unfortunate result of thie
confusion is the scattering OF those wel-bnl-
anced and consolidated companies Of artists
30 well remembered rs Booths company. Days
company. and tho Union Square company. Even
Wallack's company s not so we'll balanced rs
formerly. There is little or no pIth in the ir-
regulars now ranged under each managerial
banner We find in each ono or two features.
but rs whole we find no completeness.
II would be better H. by agreement among the
managers. some arrangement could be arrived
st under which tho principal theatres might
cultivate special departments OF the drama.
The following arrangement. for example. may
be suggested:
l. Wallack's md the Fifth Avenue should be
devoted to comedy. tragedy. and high class mod
ern drama, such ne would DO admitted into tho
Theatre Francais.
I IL
form the repertoire Of the Porto st. Martin tho
AmbiRu. and the Chatelot.
Ill. Tho Park and Union Square: the reper-
toire Of the Gymnase in Paris or the Prince Of
Waes's and Vaudeville Theatres in London-as
Robertson's and Gilbert's delicate drawing room
comedies. and plays like Our Boys. Sweet
hearts -" Kerry" Morning Call" Gnlntoa" &"
-works that arc lost on a larger stage. This
call the vignette drama. II should not be ex-
hibited with a large margin and in u heavy
frame.
". The Grand Opera House: tho oques-
trian drama and ballet. fairy spectacle. and
spectacular plays. such as the repertoire Of tho
Cirque in Paris land sometimes. alas lately. Of
the Porte st. Martini.
v Standard and Broadway: operate plays
musical burlesques. follics comic opera &C.
II some such distinct character could be as
would greatly benefit 10y it, for they would
naturally grayitate 10 that establishment whcrc
their abilities found their proper and best en-
ploymcnt Tho public would nnd more variety
Of entertainment. and tho plays. each Of its
kind. would be better played by more compe-
tont artists But az present the companies arc
obliged 10 act as servants Of all work. so they
are masters 81 none. Tho same company to-
day Is called on TO perform in a broad melo-
drama. and next week obliged to appear in a
refined comedy. Ths is not reasonable. How
should We regard a contractor who expected his
workpcople 20 be- all carpenters this week and
all goldsmiths the following week? II is all a
muddc. Tho round men arc forced into the
square holes. and tho result Is frequently an
unfortunate aud gross misilt. Plays have failed
at the Fifth Avenue Theatre that would have
proved successful at Waack's. Tho Union
square has staggered under wcighty molo-
dramas that required the space and grandeur
Of Booths. Actors and actresses that should be
gathered into company in New York are
squeezed out ot the city and obliged 20 wander
away into the provinces. where they get into
bad habits. losing their artistic lnish by play
ins as stars TO inferior audience. with inferior
companies.
The only successful theatres IN London dur
ing my lifetime havo been those that cultivated
sporiaitics IN the drama The Haymarkc, was
suc'es ,ful SO long as il stuck to pure comedy:
tha Aielphi was successful so long rs It stuck
20 mclolrama; but whom these theatres de.
serted their flags they failed. The Prince II
Walos's and the Vaudeville havc stuck 10 the
vignette comedy drama. elegant drawing
room PLAYS given IN small theatres. and they
h0ve succeeded. Il is strane. however. that
when popular theatre changes iis policy and
vocation the change geuprnlly Is hinhlv suo-