Sacramento daily record-union. [volume] (Sacramento [Calif.]) 1875-1891, 1881-04-23
HER VIEWS.
A PRoMI EMF ACTRESS ANSWERS SOME
PLAIN QUESTIONS.
she Gives Ger Views CT the Igodsrn Drama
Its pecline, People OF the Stage. The
Sensational School, Etc.


the country. has been playing at the Metro
politan Theater for week with marked sue
cess. She first appeared here seven years ago
and then gave satisfaction II the present
engagement, however, the lady has shown
such an advancement such an increase
in dramatic strength, and such gen
eral improvement in her art, thai
her acting has been rewarded by tht
most cordial commentator and sincere
plaudits of discriminating and culture
audiences of this city. She has been known
here simply as ,n actress aud by the persona
tons presented by her or the stage, ane
the judgment of her abilities by this
public has therefore been entirely iul
partial. In view of the prominence
which dramatic topics now have in tbs
PUBLIC mind of the varied entertainment,
given here the past winter; the questionable
character of some, the positively Objectionable
character of Others. and the public comment;
thereon which have been recently INDUCED in,
the advent of this actress in emotional and
sensational plays, and also in the Shakes
pearean, following SO closely upon the recent
doubtful engagements, has been deemed by
the RECORD UNION a proper occasion for
a more extended discussion Of the
dramatic questions of the day. Miss
Rogers was therefore yesterday called
upon by RECORD UNION representa-.
tive, with view of elicitiug her views as an
experienced and wel-informed actress upon
several OF the problems those Questions in
volve. 1t is proper to preface what follows
by the statement that the lady did not invite
the conversation, was surprised at the request
for it, and yielded to the publicity it would
involve only after seriously considering the
matter, and concluding that she could afford
to add her views to the now growing demand
for reform in the drama of the day, so long as
her testimony was deemed of value in the case
that the American public is now undoubtedly
| trying, and in which it must at no very dis
tant day agree upon a decisive verdict.
| While the lady was very frank in her state
ments, it is but just to say that she was
modestly reticent, and did not prefer subjects
for the conversation. Many of the replies
are the aggregate of responses to several ques-
tions, only such interEogatories being here
given as are necessary to clearness.
THE VIEWS OF AN ACTRESS.
The RECORD UNION representative opened
the conversation by saying: Miss Rogers,
topics concerning the drama and people of
bo oil Of 5vEa E, L..
and just now especially valuable. You have
had many years experience on the stage and
the knowledge gained in your profession rem
ders your opinion relative to it of value to
nou-professionals in forming correct iudg-
ment Of the stage and It's people. Win you
respond to proper inquiries on certain sub.
iacts of interest about the theater, the drama
and actors
Miss Rogers-I have reflected upon your
request, and am inclined to give my opinions
for whatever value they may possess ii you
desire it, though l assure you L do not court
the criticism my expressions may bring on
Reporter-Of their value, permit others
to judge. As matter of preface it
is quite desirable to ask you concerning the
scope of your observation that those rot
familiar with your stage history may better
weigh the opinions you express. viii you
therefore please state how long you have
been on the stage, the countries in which you
have played and the character of the drama
in which you have chiefly appeared?
Miss Rogers-Well, as you know, L am an
Englishwoman. appeared first on the stage
sixteen years ago. | came on with Samuel
Phelps at Sadler's Wells Theater, London. 1t
was the home of tragic acting, and Phelps
was the great master then. 1t was the home
Of the sterling old comedies, too. 1t was de.
voted entirely to the legitimate, though there
were more pretentious theaters in London.
1t was there, however, that Tom Taylor's
Fools Revenge" was brought out. 1t was
considered the first innovation on the legiti.
mate school. but it is in this day by contrast
itself considered of the legitimate. have
been in this country nine years. | came first
with Sothern. appearing in "Galatea" at
Wallack's, New York 1 presented it for
/ have played in the leading cities from New
York to San Francisco, and many principal
towns, but chiefly in the cities. l began in
the purely legitimate school, but latterly
came also to appear in society and sensational
plays, because managers insist that the public
demand them, but l seek the legitimate
whenever | can. / don't like the sensational
My admiration is all for the better school.
Yes. have had an extended acquaintance
with leading people of the stage, and have
had opportunities to observe some of the
best models in Europe and America.
THE SENSATIONAL DRAMA
Q.-Concerning the tendency toward the
French society plays and the purely sensa-
tional, has there, think you, been a declina-
ton of public taste, or is it due to the i'm
poveriskmeat Of talent" its inability to
present the legitimate or has there been
decline of the legitimate?
Al don't think the public taste has de-
clined. 1t ought to improve with the growth
Of intelligence. | don't think the tendency
you refer to is due to the impoverishment Of
talent" or to any lack of ability, though
there is need of school to cultivate it. The
truth is, we have mainly speculative managers
nowadays, and there all the fault is
Q-How is that?
A.-Why, most of our managers are not
lovers of art, not friends of the drama. On
the contrary, the drama is to them only
means of personal ends. They insist that the
public demand the sensational. 1 don't be-
lieve it. They drive the art-loving public
away, but those who do come and witness
the sensational they point to as indorsiug
that style of the drama and cite their pres
ence in support of their system. l think
such management unprincipled, and that the
public is unjustly judged by such managers.
the time of departure from the legitimate
was when the speculative managers came in.
The legitimate declined or was supplanted
because of no inherent disease, but by reason
of assaults by these managers. When these
vandals came in Art hid herself, and has been
unable to entirely resist them. To show you
that the managers are wrong, and that the
demand for the legitimate exists, look at the
record of this season. Mccullough, Miss
Anderson, Tom Keene, Barrett, score of
others, and those metsors of art, the great
Salvini and the great Janauschek, all playing
in the legitimate with most marked success
in far apart sections. The great, the ordi-
nary and the stock are and have been all
along received well in the legitimate No,
sir, the love for the legitimate is not dead
1t is as strong as ever, but it is given no food
nv the most of managers, and precious little