The Arkansaw traveler., 1886-01-16
,n comes. His work is, therefore,

sometimes uneven. His unfortunate l" Paquita, for instance, was cleverly con- structed and we'll written in the first two acts, and after that, through ill-considered development and hasty composition, it literally ss well as 6guratively went all to pieces.
 Augustin Daly is one of the few who have successfully managed theatre and also written plays for production therein.
 Boucicault and several others have at- tempted this dual feat and failed. He does it by con6ning his managerial at- tention to one theatre and one company. He literally lives in the theatre, in little sanctum at the rear of the stage, and when the company goes travelling in the summer he always accompanies 1t and oficiates as his own stage manager. He, too, was formerly a journalist, like Camp. bell, Howard, Gayler, Carleton and other dramatic authors, and is apt to rely on the spur of the moment. Until recently he has written plays only for production in his own theatre, and adapted the char acters to those who are to play them. He is constantly watching and studying the abilities of the members of his company, So as to fit them in his plays. Host of his work consisted of adaptations.
 Lester Wallack found management and acting and play writing too laborious, and has lately confined himself to the two former, not having written anything since " Rosedale," which was preceded by "The Veteran" Central Park" and other adaptations from plays and novels, which were dashed off in leisure moments between acting and managing, with the purpose of giving himself a role. It is not likely that he will ever resume the pen in dramatic composition.
 Baras wrote many plays that have since been forgotten before he wrote the famous "Black Crook" He devoted much thought and time to the compost tion, intending it to be an elaborate liter ary effort, legendary drama of the mo- bier order. He wrote speech for Hert- s0g to deliver on throne of skulls, that he claimed would have done credit to Milton. The managers of Niblos Gar den discovered that the play would be a good spectacle, and produced it as such, to the great chagrin of the writer, who fairly cried out aloud when his labored and sophomorical dialogue was cut out by the page in reducing his play to spectacle, and who always declared he would spend some of his enormous profits in some day properly producing the work as it was written.
 Marsdcn is slow and laborious writer, never satisfied until his work has been thoroughly recast and rewritten. Ills previous experience as an actor enables him to make good fit for specialties. He can never write except when the spirit moves him, and requires long time in his contracts. He is more skillful in his effects than in his characters, because he is not so much student of character as of stage mechanism. He is like a schoolboy with holiday when he gets play finished, though working is labor of love.
 Gayler gets his idea and dashes off his work, remodeling and rewriting as he goes along, although very unwilling to cut or change until the public decision on production. His hasty writing often prevents characteriz ation and color. He prefers to. write on an order. He certain. ly showed patience and skill in SO clev- erly fitting Emmet as in Fritz"
 Cazauran is another journalist who takes the custom of the sanctum into the theatre, and never writes until the de- mand is upon him. He writes quickly and fluently, and his best work is dashed of. He is very skillful in completely giving the idiom of the dialogue he trans lates in his own concise language.
 Gunter is painstaking and laborious writer, who never lets play go from him until he is thoroughly satisfied with the work, and that he cannot improve 1t.
 Henry Guy Carleton has written sever- al plays besides "Victor Durand," but none of the others have been produced He is studious, careful writer, seldom committing his thought to paper until 1t is thoroughly satisfactory. He writes act by act, and sometimes recasts the whole. He makes study of his plot rather than of character.
 George Fawcett Rowe maps out his work and develops act by act, taking pains with his dialogue, which he goes over until it entirely suits him.