Grant County herald. [volume] (Lancaster, Wis.) 1850-1968, 1879-04-17
The Thee re.

One of the advantages derived By the in
habitants of the Utopian republic described
by Edward Everett Hale, is the manner in
which the theatres are conducted. In that
country dramatic representations are not
given over to strolling companies Of doubtful
character, but are conducted BY gentlemen
and ladies of the town, under the supervision
Of persons of unimpe ichable ia ste, so tina.
every man can attend with his family, old
and young. We are reminded of this sketch
of Dir. Hale's by the active interest which
has been taken in theatrical representations,
by many people in Lancaster, during the past
season., espec tally those in which the actors
were our own citizens. All over the country
the subject of theatre going is awakening
much discussion, and the relation tf the
church to the theatre is a frequent theme in
pulpit and press. Although the theatre oc-
cupies far better position than formerly in
the eyes Of religious people, it is yet signit-
can. fact that tenor singer in large church
in Philadelphia was recently dismissed from
his position for taking part in comic opera.
Yet this piece was only III. N. s. Pinafore"
which is said to be entirely unobjectionable.
Unfortunately, this word "unobjectionablen
is somewhat elastic. Some would think that
the Carpenter Of Rouen," TOR instance.
would not come under this category: and
one need not be manifestations to consider
he vivid representation at length of so
many criminal purposes as little questiona-
Bile. The fact of the matter is that the thea
ire is like good many other things in this
world-when good it is good, and when bad
it is very bad. We quote in this connection
an extract from literary review in the
Springfield Republican
'There is strange fascination about the
stage, which is able to disguise from view
the numberless evils and mischiefs which
accompany even good acting, and which are
inseparable from bad. OF all the arts that
OF the actor is for the time. ,he most success
full and the most powerful in its effect upon
human passions. From this the artist hims
self suffers, and in his or her pcrversion in
tlicts great misery upon others. II can
such pains to suppress plays and players, for
the stage IN their day was at its worst, and
the vices it encouraged were only too COM
mon in England without the stimulus which
the theatre gave. Henry Barton Baker, in
his English Actors from Shakespeare to
Macready," does his best to wink the sins of
play-houses out OF sght-but they obtrude
themselves throughout his two volumes.
historically, whatever may be said in excuse,
English actors have been as rule intemper-
ate, and English actresses have not been vir>
tuous. MIR. Baker has more regrets for the
supertiuity of theatres in these modern days
than ne has for that superfiuity of naughti-
ness which appeard in Mrs. Oldfeld, Miss
Bellamy. or Perdita Robinson"
Of course the above quotation refers only
to the professional stage; but it illustrates
the fact that the stage is an edged tool, and
cannot be handled too carefully Especially
should care be taken in the selection of a
play. The only safeguard for conscientious
theatre -goers is that laid down by the NJ y.
Post. The editor of that paper justly says
that dramatic criticism in the best papers
must include a careful and Eliminating no.
tice of the play itself, as we'll as OF the mer-
its OF the actors In no other way can the
public be sure Of its ground. To be good
actor in private theatricals is an enviable
accomplishment and one that has'been much
cultivated by eminent authors. Byron, Irv-
ing, Dickens and Voltaire are among those
who heve had pleasure and success in private
acting. But that is very different thing
from the professional stage. When onr boys
and girls make decided hits in acting, and it
is remarked by enthusiastic spectators that
this one or that one should go on the stage,
the cautionary observation should be added
that actors and actresses are not made of
such choice material