Sacramento daily record-union. [volume] (Sacramento [Calif.]) 1875-1891, 1890-10-05
either to become comedienne at once OIL

go, IOO.
The young ladies who had been taught
to act as emotional ingenues" Immediately
began to learn to dance and to cultivate
merrier vocal cadences and liyelier pedal
movements. They were told whenever
they applied for positions in any OF the
companies going upon the road that they
must be prepared to sing or dance, as oc-
casion required, but that they would be
called upon to ''do little bit of legitimate
acting" Just to keep the farcical skit
within the realm of common sense.
We have very few emotional ingenues
available since farce and vaudeville in
vaded the best theaters, and consequently
we have very few playwrights engaged
upon the construction Of sensible plays,
because the public does not seem to want
players able to interpret them.
l ana not condemning laugh-provocative
pieces or people. On the contrary, ap-
plaud them as the friends of an over
worked and care -cankered public. But /
regret the disappearance of the ''emo-
tional ingenue," and long for the restora-
ton to its proper place on the stage Of
wholesome drama by native dramatisis.
| think we are coming upon period
when the demand for emotional ipgenues"
will increase. Already there are mana
gers in this vicinity who believe that a
tirst-rate 'ingenue" with a strong play
would be the most potent attraction on the
various circuits. Charles Frohman told
me the other day that young, pretty
woman, with ability to act in the leglti-
,,-o.,iI
than any farce-comedy in existence.
Other managers of experience pointed to
the success Of Shenandoah" and 'Held by
the Enemy" as valuable signs of the times
They also said that plays like "The Wife,"
''The Charity Ball" and the 'Maister OF
Woodbarrow" indicate a revival Of popular
interest in serious plays.
''But," said one of them, "where will We
find the players to play them? We have
lots of men who have been trained to Sc
rious business, and lots of ladies in middle
life capable of excellent work in the old
woman roles. We have soubrettes by the
dozen and condolences, but we have no
emotional ingenues WHO can look like
young girls. Yes, I'll admit that Dan
Frohman and A. NJ. Palmer have few Of
them-Annie Russell, Miss Burroughs and
others l could mention. such as Minnie
Seligman. But, again. l say, outside of
these, who is there? Nobody. l tell you
We lack young emotional actresses, and the
manager who wants one will have to seek
her in England. He cannot find her in
America"
| suggested the schools of acting. He
smiled and said: ''You would scarcely seek
surgeon for capital operation among
the students of the College of Surgeons in
New York"
He was right, found after careful in
quiry; and it was quite evident that there
are fewer young emotional actresses in
America now than there were ten years
ago. At that time one could get Mary
Anderson, Georgia Cayvan, Carrie Turner,
Kate Forsythe, Effie Ellsler and a dozen
other young ladies of remarkable ability,
fitted by nature, talent and years for the
youngest roles of the standard drama.
To-day, in the opinion of the most in
terested parties-the managers and authors
there are few girls competent to take
the places occupied ten years ago by the
artists above mentioned.
The leading managers are alive to the
condition of things and have begun to
think that the stock company must be re-
established in all the big cities, to save the
better class of drama from decay and to
educate artists competent to interpret it.
One Of them said on this subject a week
ago that if the stock companies were not
revived there would soon be nothing but
opera bouffers and variety and vaudeville
artists in the profession. Even now it was
almost impossible to cast strong play
satisfactorily without English aid.
There is not one known to the present
regime of theatricals who can be expected
to reign either as great queen of tragedy
or great emotional society actress. Cogh-
Ian has succeeded herself, so to speak, be-
cause she has begun to star after she abdi-
Gated at Wallacks. But who is there to
take the places once occupied by Rose
Eytinge, Agnes Ethel, Sara Jewett and
Clara Morris?
There may be some on this continent,
but do not know them, and, what is more
to the purpose, the managers tell me that
they do not know of them either. We
need young emotional actresses.
We can raise them only in the stock
company. ROBERT MORRIS.