Richmond dispatch. [volume] (Richmond, Va.) 1884-1903, 1889-05-05
NEW YORK LETTER.
TIE rrIeragArsp AMERICAN PLAY
wRIeHrs
Comedian william II. Crane Takes issu'
with Manager Palmer Regarding
American Playa
porrespOndonce Of tho Richmond pIspaschi


by the majority Of the public ~ final. III Is,
therefore. iust because | feel this general
concurrence In a verdict which regard ~
largely II not altogether an unjust one that
Iyenture to lay my own views before an au'
dience but lately addressed by such an emil
nent authority.
Mr.. Palmer is pessimist OF the mos.
hopeless cast as regards native American
drains. am sn optimist, on the contrary,
vhom circumstances have lesd TO take
Ut less, q cheerful II not roseste view oi
The same subject.
In the first place. Mr. Palmer begins by
iolting down what Is evidently parry
iist Of dramsiisis. beyond whom, he
AYERS. we have no plsywrighis. Assuming
for tho sake OF argument that this IL the case,
though there are In my opinion sevefsi
names which might very fairly have been
added 10 The list, | see nothing entirely dis.
ereditable 10 country In the fact that II
possesses only seven living playwrights OF
acknow lodged excellence. doubt II there
are very many more in England or Ger
many. and not 4 great many more IN france
Ten wears ago the cry we SO often near
now was loudly raised in Eogand,
and English managers dIsmslly declared
that they had no native dramstist, and so
were forced 10 60 10 their neighbor. France,
for their dramatic ammunition. Inat sta.e.
nj the time II did seem IS though Eughsh
drsmaiIsts had lost their productiyeness, out
the fault iay with the managers rather IMAM
with the authors. There was but little demand
for native works on the part OF the one, theTe-
fore there was but Ittle supply on The part
of the other. At length the public grew
tired Of importations and adaptations ana
demanded works OF originality. They got
fhcrn. for AZ soon as it became an object to
Ia ohlaIn the 0OIQeetc
article he encouraged its manufacture ana,
hey, presto bis encouragement bore run.
DUE TO SUBSTITUTING.
This, | take II, as the nature OF the TWO
cases renders obvious, Is about the state OF
matters in Americs to-day, and L am ohiy
omszed. not that we nave no native dra-
mstists, but that we have such excellent
ones "a we have, and as Mr.. Palmer ad-
mits we have. During the several visits l
have paid 10 London / have talked much
with authors aud managers and Observed
more. and am convinced that what excel
hence Is poSsesesd by the English drama is
due 10 WHIST NAV term the subsidizing OF
English dramatic authors by English man.
neers. When-and / speak OF my own
know ledge-Mr. Irving or Mrs. Kendall or
Mr.. Toole or Mr.. Hare, or Wilson Barrett,
wishes new play he goes to an author and
certain dste, paying BIN then ana there
sum ranging from Gl00 10 $500 as sort OF
retaining lee The author first submits
seepsrio suggesting the points OF the pro-
posed new piece; II this is not satisfactory
new one 10 prepared, and so on until the
manager Ia satisfied. Then the first act IS
written and submitted, worked at until
IL meets tbs views OF all concern
ed, aud in this way the play Is
nnally finished ard now embodies tue 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 rehearsal and fur-
thor changes suggested, perhaps by actors,
stage mansger, scene-panter, or whoever
NAV he concerned in the production. and
whole scenes perhaps are rewritten or eTadi-
Gated Rehearssls continue for months, may
De. until at last the work which now has
been enriched by the experience and brains
OF bali dozen clever people is finally SUBJ
United 10 the verdict Of the public
TIE AMERICAN PICTURE.
Turn from this picture 10 that presented
by the struggling American c0ncocter OF
plays. He has to sit down In his study
cheered 10y no kindly interest, encouraged
bv no hope Of immediate pecunlary return,
belned by injudlclous, practical advice from
men who. though they may not I've gifted
full Of dramatic suggestions; no has, say, to
sit down and out Of his inner consciousness
evolve completed pay. The work happily
done, ne puts IL under his arm and marches
10 manager or Star" No. l. IL don't like
TINS scene" saws the manager or "Star j"
No. /, Good day, sir" I" ike the scene."
saws the msnsger or Star" No. 2, "but
don't Ike that. Very sorry, but-good day,
sirv And 80 IL goes. Each has fault,
frftf m find lint u
suegests a means Of alteration or gives the
slightest pat on the back to Mr.. Author. So
no goes from one 10 another, and at last dis
hesrtened he locks his manuscripts in
drawer and wisely enough resolves 70 write
no more for the stage. Our leading actors
and our managers. il seems TO me, are never
inclined TO consider 3 submitted play unless
1t suits them at first reading in every par
ticulsr.
Now, 1 am firm believer in the theory
that the best plays are those written under
circumstances which put the manager and
the author "ln touch" as It were from the
very beginning Of the work. Without ap-
nearing egotistical | hope l may adduce as
an instance Mr.. Bronson Towards 1.-THE
Henrietta" As within few short weeks
shall cease 10 have the least pecuniary in
terest 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 detrAcung from the honor which is due
10 Mr.. Howard ] can safely affirm that II
would at least have appeared In different
form had not Mr.. Robson aud myself from
the very inception aided the author "a FAR as
cur own poor talents would allow. can only
say that shall IN the future carry my theory
into practice. and when playwright oil
ability approaches me with Sn idea, however
vague, which seems 10 me TO possess the
likelihood Of fitting my powers as an actor, l
shall do all in my power TO assist the deVei-
opment OF it into play.
MAEIFETLY IMPAIR.
Again it is, | think, manliestly unfair to
compare the English With the American
stage writers from a numerical standpoint.
We do not III this country need 40 many,
despite our LARGE population, as they need
across the ocean. We have IN New York
but three stOck-cOmpany theatres. ln
Iondon each OF the score OF houses u
n stoek-eOmpany house. More new plays
are produeed-haye 10 be produced, in tact
in London Ia 4 season than In New York
fn half a score OF seasons. The authors
matinee, too, In London Is an established
institution; here II Is but tentstiye expert
meut. There 1t Is tue yonng and smoiuou.
auther who produces his own play, here u
/, the oyerworked and play-weary manager.
There sectors are glad 90 add TO their income
by An extra performance. aud cheerful a.
rehearss play for month, e'r
though il Is 10 be seen only Oi,s
here our Young men are apt 10 look super
cinously on anything but an important
production, and II a matinee piece has
halt dozen Tehearsals II il something e
cause the author 10 give thanks. There the
audience IL largely composed OF Londor
managers ever on the lookout for novelty
and OF agents for American managers even
keener 10 their search, and il the piece y
good IL Is bought before the second act ii
over, as was the case, l believe, With boti
"Jim the Penman" and "Csptsin swirl,