The morning news. [volume] (Savannah, Ga.) 1887-1900, 1891-01-29
COMEDY A SERIOUS MATTER.
Stuart Robson Explains Some Things
About Acting

ABOUT Acting.
Those who saw Stuart Robson in ''The
Henrietta" last night, and who have seen
him as Tony Lunpkin," the Fool" in
Lear" capt. Crosssrees," or as "Fal-
staff, " probably wondered in which char
acter they liked him best
Mr.. Robson chatted pleasantly after the
play Of various things theatrical, and the
talk turned on comedy acting.
1T is serious business, this comedy act.
ing" he said. comedy s the most
serious business III the world 1t is
more serious than tragedy, and, in
many cases, is much more difficult to render
effectively. | have long since discovered
that the so-called spontaneous comedy is O
mere myth; that 1t hedges too closely on the
farclcal ever to be effective, and that, most
OF all. 1t in its very nature defeats Its own
end, that of effectiveness in winning the
audience. However bright, clever or spon-
tansous may be the movement of the So
called unconscious comedy here in the daily
round of real life, or however effective il
may be In the social circle, shedding
its geniality and Its vivacity every
where, we still must maintain
that its efficiency is entirely lacking when
transferred to the footlights Comedy,
then, to be effective, must be serious. uust
be studied, must be planned out with scru-
pnlous care, with attention 10 the
specific arrangement of the minutest
details. Do you know, sir, the
most attractive, the most striking, the most
successful comedy parts that have ever
fallen under my observation were those
that had been planned with the most labor
ious etforta There is reason for all this.
omedy finds its effectiveness more in sit
uations than in lines The success of these
situations depends on the attention to de-
tail, grouping, tablesux, climax and all else
that go 70 make up the stage illusion. Lines
follow. then, as matter Of course. Hence.
! say comedy is the most serious business in
the world.n
Mr.. Robson told the story Of ''The Hen
rietta. tine writirg of the play came
about in this way" he said. "Mr. Crane
and were playing in New York city one
night five years ago. MIR. Howard was in
the audience. We met. I said: we are
Howard. We would, however, like to have
something from your hand Mr.. Howard
replied: IL you are as anxious to have me
write as am to do something for you, the
matter can be soon arranged, Tomorrow
will send around my business manager
and you can talk to him
of terms The business manager
was all we heard Of Mr.. Howard for four
months. One day he sent us sonario, or
running idea of play. We liked it.
Nearly a year passed by. Our contract
called for play in fifteen months. We
wondered what had become of Howard.
One April day the dramatist called on us at
our rooms in Nav York CITY. He read us
one act Of the play. We had no suggestions
to offer. We were delighted. But this act
was only in the rough, so TO speak; the lines
were broken and fragmental; nothing was
done We were somewhat concerned.
'Thas is capital said. 'and now
let US hear the second, third and
fourth acts i haven't them,' replied
Howard. Haven't themr exclaimed Crane
and in breath. well, well, Mr.. How
ard, this is April, and four months hence
aud Crane opened bis eyes and looked wise,
while did ditto. i know, gentlemen said
Er. howard, the time may seem short TO
you, but, assure you, it is ample for my
purposes. spent over year on tie struct-
ure OF this play. It is new flntshed. The
writing Of the dialogue win be very sim