Telegram-herald., 1889-05-15
coFfR1SsF lsA

there are very many more ia England OF
Germany, and not great many more Ia
France. Ten years ago, the cry we 50 often
here now. Was loudly raised in Eugland,
and English managers dismally declared
that they had no native dramatists, and,
were forced 10 20 10 their neighbor,
France, for their dramatic ammunition.
That statement was without a substratum
OF truth, for, AT the time it did seem ~
though English dramatists had lost their
productiyeness, but the fault lay with
the managers rather than with the au-
thors. There WAS but little demand for
native works on the part Of the one there
fore there was but little supply on the
part OF the other. AT length the public
grew tired of importations and adaptations
and demanded works Of originality.
They got them, for as soon as it became
an object TO the English manager TO OBJ
tain the domestic article, he encouraged
its manufacture and, hey, prestol his en-
coursgement bore fruit.
This / take it, as the nature of the two
cases renders obvious, is about the state OF
matters in America to-day and am only
amazed-not that we have no native dra-
matists, but that we have such excellent
ones as we have, and as Mr.. Palmer ad'
mits we have. During the several visits
have paid TO London, have talked much
with authors and managers and observed
more, and | am convinced that what excel
lence is possessed by the English drama is
due TO what | may term the subsidizing OF
English dramatic authors by English man
ayers. When-and | speak OF my own
knowledge-Mr. Irving or Mrs. Kendall or
Mr.. Toole or Mr.. Hare, or Wilson Barrett,
wishes new play he goes TO an author
and orders from him play to be delivered
at certain date, paying him then and
there a sum ranging from 600 TO 600 rs a
sort of retaining fee. The author first
submits scenario, suggesting the points
of the proposed new piece; if this is not
satisfactory new one l. prepared and 50
on until the manager is satisfied. Then
the first act is written and submitted,
worked at until it meets the views of all
concerned and in this way the play Is
finally finished and now embodies the
idea and experience not only of the author
but of the manager or actor as the case
may be. The piece is then put into re-
hearsal and further changes suggested,
perhaps by actors, stage manager, scele
painter or whoever may be concerned L
the production, and whole scenes pen
haps are rewritten or eradicated. Res
hearsals continue for months. maybe until
at last the work which now has been en-
riched by the experience and brains of half
a dozen clever people is finally submitted
to the verdict of the public.
Turn from this picture to that presented
by the struggling American concccter OF
plays He has to s.s down in his study
cheered by no kindly interest, ELI
couraged by no hope of immediate pc
cuniary return, helped by injudicious.
practical advice from men, who, though
they may not he gifted with the faculty of
expression are yet brimful of dramatic
suggestions; he has | say TO sit down and
out of his inner consciousness evolve
completed play. The work happily done.
ne puts it under his arm and marches to
manager or star" No. /. Il don't like
this scene, says manager or star" No. /.
Good day sir" II like the scene" says
manager or Star" No 2. but / don't
like that. Very sorry. but-good day
sir" And so it goes. Each has r fault.
either grave or trivial to find, but no one
suggests means of alteration or gives The
slightest pat on the back 10 Mr. Author.
So he goes from one to anotssr and AT last
disheartened he locks his manuscript in n
write no more for the stage. Our leading
actors and our managers, it seems 10 me
are never inclined to consider a submitted
play unless il suits them at first reading In
every particular
Now | am firm believer ia the theory
that the best plays are those written under
circumstances which put the manager and
the authcr in touch" Is it were, from the
very beginning Of the work. Without
appearing egotistical hope | may adduce
as an instance Mr.. Bronson Howard s
"The Henrietta" As within a few short
weeks shall cease to have the least pc
cunisry interest in this play, | may be
allowed to say that It is one OF The most
popular plays produced in this country
within the last decade and without IN any
way detractinx from the honor which Ia
due TO Mr.. Howard. can safely afhsm
that i would az least have appeared in p
different form had not Nr Robson and
myself from the very inception aided tho
author as far ss our own poor talents
would allow can only say thar I shall
in the future carry my theory into pTac-
tice. and when playwright of aoilty ap-
proacbes me with an idea, h~vever vague.
which seems 90 me- % possess ~ hke1-
lHII OF ETEiHE ny tHfF ~ ftil 7-t'.tr
shall DO all in my power 20 assist tls devel-
opmeBt oi r. into play.
Again. it u. 7 thinS manifestly unfair
to r0mnare The Fag-isb With the Aueri-
can stage writer's from = numerical stand
point We 10 -0-. iu this country need 20
many. despite orr larger popaisrion. "a
they n-ed across ths ocean. We have n
Nsw York but three stock company thss-
tres In London eacs ~ tbs score - hoBses
T is A stock company house. More new pisvs
49, r--7 -re5 Ha~s - - -r,du-e7 fr fsc-.
n T4,-5rn 'n season thau i- Ne- T-rs
f7 half a scors - seasons TIE author''
rna- nes too Ia Iondo1 IS 81 esta she1
fns- i-u- here it Il bat q tentative *
pertinent There u ist the r3ung ard an '.i
ticus s1rbor rho produces ls Crn psE
here Is s. tae avsTworked ard Play ueaf5
n1ansEsr. Ihers 8ctors are Rsf f0 sli -
. their income ~ n eKr-a p%rforF1sr-e sa'
chserllllE renearse rlsv f'r month
even though IS - - - seer -r r 1nce
f here chr Tolng men a. 81. ~ Iosk snper
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{ prod uction, spa if matinee piece hs'
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