Sacramento daily record-union. [volume] (Sacramento [Calif.]) 1875-1891, 1882-02-22

comes away from the performance with the
melancholy conviction that the stage is
even drearier and less exciting than his
OWE efforts in the pulpit. Had Mr.. john
son acquainted himself with his subject
he might lave found it necessary to dimin-
ISL his invective, but at the same time he
would have perceived many vulnerable
points il the modern theater. For while
it is certainly absurdly untrue that the
stage is sink of iniquity," or "pool
:" of filth" or any of the dreadful things
which ignorant ceIsors assert it to be, it
must be admitted even by the most liberal
critics that it has for some time been de-
generating in certain respects, aud that it
is becoming more frivolous continually.
There are, of course, diverse ways of
accounting for this degeneration. Mana
gers affirm that they only want to cater to
the popular taste, and that this taste de-
mands sensational plays, hashy spectacles,
and that kind of medley known as the
variety" performance. The public, on
the other hand, as far as their ideas can be
got at, profess to desire more intellectual
kind of entertainment though they do not
always patronize the latter when it is fur
nished for them. But it is undeniable that
there exists practical explanation of the
increase of meretricious amusements, which
tends to show that the change which good
friends of the theater deplore has its origin
behind and not in front of the green cur.
tain. We refer to the so-called starring
SYSTEM" which has done more than any
thing else to abolish what are called
'stock companies" and which, in abolish
ing the stock companies, has made it al
most impossible to produce the higher
class of drama with any approach to per-
lection. Under the "star" system, what
ever play is presented is sacrificed to the
personality of the leading actor. These
leading actors travel all over the world,
sometimes taking one or more supports
with them, but oftener being alone.
Whenever they play it is necessary to col.
lect com panies to play with them, and it
too often happens that the companies are
lamentably wanting in preparation, har-
rnony, and talent.
The result is that people see plays
marred and misrepresented. Shakespeare's
noblest creations are produced in the most
unsatisfactory way, with a "star" in the
leading part and all the other characters
represented by "sticks." 1t is the same
with other plays. There is no longer the
harmony and completeness which can only
be derived from the conscientious and
artistic performance of every part. The
title role is elevated into unnatural pro.
portions, and everything else is dwarfed
The consequence is the destruction of the
beauties of the drama. People go to see
Sheridan, or Sullivan, or Barrett, or Booth
they no longer go to see the plays in
which these actors appear. And nothing
can be more injurious to the true interests
of the stage than this system. It has de-
graded the modern theater far more than
low condition of public taste. Indeed
it may be seriously questioned whether the
| performances is not the inevitable conse.
quence of the natural disgust caused by
mutilation and Misrepresentation of the
legitimate drama. And if this is the case
it is the actors, and not the public, who
have degraded the modern theater. No
doubt their temptations have been great,
but that does not alter the fact. The
"star" system is mainly responsible for
the decline of interest in the legitimate
drama, as anyone can convince himself
who will reflect upon the past little.
Fifteen years ago there was stock COM
pany at Maguire's Opera House in San
Francisco, which succeeded in retaining
public favor for very long period. In
that company there were very few persons
who were not good actors. Harry Edwardas,
Sophie Edwin, Mrs. Judah, Mrs. Saunders,
Harry Jackson, Mrs. Jackson, Charles
Thorne, were all playing there at one time.
They wereable observation-disclosures playsin
an artistic form. They worked together har-
moniously. They looked to the details with
some care. There were no "stars" among
them, but they were all genuine actors. and
the result was that they pleased the public,
and kept honest plays on the stage. There
are not many such companies in the United
! States now. The " star" business has
scattered them to the four winds of
heaven. The theatrical company has
ceased to be an artistic combination, held
together by sort of family tie. Every
actor wants to be star. No star cares
much fer anything beyond his own special
ties. This is why the legitimate drama
has been going out of favor, and why man.
ayers have been compelled to rely upon
the 60 leg drama" the "Black Crook " and
spectacular pieces, and the variety per-
formances which substitute rapid success
sion of specialties for the continuous play.
We believe that any manager who had the
courage and perseverance necessary could
revive the former interest in the legitimate
drama by getting and holding together a
good stock company, however. The public
are not SO frivolous as might be inferred
from the current theatrical performances.
They have not ceased to appreciate s.er-
| ling theatrical performances. The trouble
is that the theaters have ceased to give
such performances. But so long as the
"star" system continues we cannot expect
much improvement, and If it is to hold its
own the tbeaters will all be degraded,
sooner or later, into variety and minstrel
shows.
THE END OF THE MABILLE.
A dispatch states that the Jardin Ma
bile has been sold for building purposes.
This is the not infelicitous end of famous
for tpfa ,l.oa