Evening star. [volume] (Washington, D.C.) 1854-1972, 1882-12-05
Success on the Stage.

Joseph Jefferson. in the North American Review
To make a successful actor one must be
gifted with sensibility, Imagination and per-
sonal magnetism. The art must be commenced
at the foundation, or the superstructure can
scarcely stand The student should be content
to enter upon the lower walks of the profession
and this is his first stumbling block, because the
lower positions are enormously considered to
be degrading. But to 'carry banner" is
necessary, and is certainly not degrading to a
beginner in the art of acting All professions
require that the student shall master the
drudgery of his calling Before the astrono-
mer makes his great discoveries. he must have
learned arithmetic. The distinguished saoant
has mastered the elements Of his speciality.
The famous. chemist tries the most simple
experiments, and has not hesitated to soil
his hand in the laboratory. This simple
drudsery is the key to the dramatic pro-
fessiOn, yet the thought Of it affrights
the tyro: and how natural that it should do so.
for all the apparently degrading offices Of other
occupations are performed in private; but on the
stage the personal modification has to be borne
In the full glare OF the public. and, still worse.
in the presence sometimes of friends and rela-.
lions who have come expressly to see how ''Our
John" will act his part. Poor John! How. in
wardly. for the first time, he wishes his friends
rather the whole world had been there than that
small family party, who. themselves are indig-
nant at the manager for giving their relative
such little thing to do. And to think that this
same modification has to be repeated night after
night, perhaps season after season! Do Won not
recognize other qualities that must now support
himI Should he not have nerve and fOrtitude and
how seldom these are coupled with sensbility
and imagination! By many failures he. NAV
learn to succeed. and thus find out what not to
Il <lnpt Env,v ,1,DSk
the darkest side Of the picture; for, though the
successes by persons going upon the stage with
out experience have been of rare occurrence.
| still we cannot deny that there have been sew
eral exceptions to place against the many fail
ures. But how small Is the list! If all the
failures could be collected, the line would
''stretch out to the crack of DOOM" But, to
return to the dramatic asprant- We all know
the young man who calls after our early din
ner-say about four o'clock just as we are
going to take our sacred nap-and Graves
our confidence. He fears his family will offer
very serious objections to his entering the
theatrical profession, and, of course. for
their sake, as well as his own, he could
not think Of holding a subordinate position.
1t Is true he has tailed as a halter, and
his success in upholstery did not seem to paae
him In position to be entirely punctual in the
payment of his board. But he felt that he had
that within him that could accomplish Hamlet
Such young persons should remember that some
OF the greatest actors nave commenced by bold
Ing inferior positions. Many have failed year
after year, and been utterly discouraged, until
some fortunate character has brought out the
latent strength within them. My remarks must
necessarily be general, for the value of any par
ticular advice given to a person depends much
upon that persons nature, his capabilities, and
how far he has advanced. Some actors are in
spiratiOnal and inventive; others again require
everything to be clearly mapped out and q
thorough plan OF action arranged before they
begin. The greatest excellence Is attained when
Of the inspiration. II they go hand-in-hand, a
harmonious performance e sure to be the re-
suit.