The morning call. [volume] (San Francisco [Calif.]) 1878-1895, 1890-11-09
Warde on Play-Ac,Iug.

My Interpretation OF Macbeth, SAID
Mr.. Frederick Warde to one of the staff Of
the Atlanta Constitution the other day,
has no startling innovations as far as the
text or spirit of the intrigue goes. In fact
this play will not admit of readjusting; that
would be mutiation and unjustiiied repre-
sentation of Shakespeare's original drama.
of course, | accept the Old traditional YER
sion Of the Macbeth-a vigorous and ambi-
tious hero who is morally coward. As to
my stellar Importance in the drama, would
express myself as advocating an artistic en-
sembe, entire artistic grasp of the play,
rather than allowing the whole to become
a setting for one or two brilliant roles. 1t
may be true that the main actors create a
realm of art which is quite apart from the
general support in the scale of merit, but, as
artists, we must aim to make play one
unified effort-a complete conception of the
whole as work of the poet or play wright"
''oF CERTAIN ACTORS"
He continued, lit may be said that they al
low themselves to be shabbily supported,
sometimes for the setting-off OF theestars.'
or often FOR the managerial gain. At any
rate such an unc0ngenial cast can hardly
present an excellent ensemble. Again. some
great actors become Indifferent to the nature
of their support. Years of struggling, of
fighting their way to public favor, and the
following years of brilliant success and uni
ference to public clamor, and even to the
demands of their art. They have reached
the acme in the sense OF popularity and
widespread eSteem-they can gain but little
more by a continued effort TO uphold old
standards, and the public readily overloOks
little digressi0ns and even the matter of
poor support in its noble recognition Of
superior talent"
SPEAKING OF MODERN TENDENCIES,
He said: Eyes. it does seem that the critics
are alarmed over the general invasion of the
American stage by the lighter class of plays.
But, after all, there is a good deal OF non
sense in that outcIy. 1t Just happens that
at this moment there is hardly play
of very serious nature in the New York
theaters. However. the public holds its ap-
probation for conSummate artists and few OF
the good actors play to empty houses. The
managers business is to present piece
which Will amuSe and be a substantial III
crease of the universal stock of pleasure,
but / see no reason for condemning the stage
because its functions do not conform through
out to the highest standard. Art will cure
its own diseases, and the drama will have
its ilourishing periods in the future as 1t had
in the past l must confess that
BEING AN ENGLIsHMAN
And reared under the eye Of English actors
my conception of Shakespeares plays Is
after the English methods of criticism.
Here in America | present my English YER
sionS OF Shakespeare's characters with the
feeling that am still appealing to English
audiences. This is matter of no great
significance on the whole, and yet something
which would readily be noticed by the keen
observer. 1t is certainly true that our thea
tiers in America do not present the thorough
excellence in grasp of the ensemble as exists
to-day in Europe But that will come in due
time. The theater to Americans is pas
time and not the sphere for that high order
of amateur tasting and digesting of artistic
principles as in Paris or London. The latter
more outspoken in dislikes and favor than
American critics. All in all, to be candid,
the American stage is developing some good
men and good intentions, aud it is destined
TO be prominent factor in the history of
dramaV