New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1892-08-21
MR.. DIXEY ON THE ACTOR-MANAGEB.
HE MouRNs THE PALMY DAYS AND TELLS WHAT
HE THINKS is WRONG.

Henry L. Dixey thinks the stage Is not "nh' u
was once Probably almost anybody VIII agree WIN
him. He thinks too, that 1t would be- be''er IL "''''
looked more after the business OF the thea"eS, VI
rather II those who looked after the business Vi 'o
hootre, wer. also actors In short, he believes IN
tbs actor.manager In discussing the subject inc
other day Mr. Dixey said; 81 suppose that my IN
,Ir.s+ I'm the business management OF my organiET
or I, tho result OF nv early training In the probes
s,on and natural instincts that drift toward 'he pa
teal in everything. In America there are very ,o
men who play upon the stage ana at 'ie S'''' '
look after affairs in the front OF the mousse al
Europe they are all actor-manngers, especially III
dn NJ Toole has his theatre there, so has Mr.
wvndham Mr. Terry Mr.. Irving, Mr. Tree, Sir' marc
ua Mr. Alexander while hore We have only Mr.
Dolv and Mr. Harrigan. Mr.. DAILY OF course Is ho.
AN actor manager, although bs has all 'ne e'ee VI
one Time was In NewYork when the di'hi Was up
held with great dignity and ut that ome the ac'o,-
managers predominated. Mr.. Burton Mr' """"s
ond Mr. Brougham all had their own theatres anu
.rsorallv suporfntended each and every pr"ducuoh'
A. this fine in the history OF the drama the '"c'e
.oa the entire sympathy OF the press ana Puo"''
Manager, were surrounded with brilliant "r''e's iu
excellent artists and everything was done nv ~
tn d.s,r. alone to make money so much as 70 oriht
the talent OF each member OF company " f
feet collective rendering OF stahuHru WI ..,
aNowodays there appears to BE- rechhg oe'"e'"
a. ..r and the layman-one r afraid, and the otiiei
oosn,t. hence there is no aid from OUTSIDE sou''o
collaboration with critics, writer's artists ana
would do more to elevate the standing OF tno "O'o
than the present system. In which the "u''o
ho-re alone writes a play, not knowing or cafns u
whom It goes rs long as later ne ge's hiS ","o
,orit As things are now. when a play IS conp'c'eu
and disposed Of the parts are distributed IL seem"
has, in the Judgment OF the manager, ana Pro'iu''
.,. pr,nc,pal actor secures n part thal he wv" NV
80, an M his standard he will not hesitate W '"ho
.Iotes xtx, the lines and situations having u i"ii
,,ody e that his manager knows nothing "ha'c'c'
.h.rt the practical working Of the stage lhis oi'o
r,,,s IN utter decentralization. On the o'her manu.
ro nm actor-mansger In charge, players WOMB oc
c,mnelIed TO respect his superior Judgment ana III
..mnsnce as well as acquiesce TO his superiority vi
,,ac. WHY shouldn't an actor manager kho" sVnie
thing almt the value of plays and player nv -
.yer feeling the pulse Of the public ~hlc inc "ali
.eer pure and simple rarely ever gets III 'o"ch VIII"
,b n,one Mr. Boucicadlt, one Of the greatest sc'or
managers that ever lived, once said " me- MT
D,xev whenever a stage director or manager eiIs W"
to do something and there is doubt In your i"inu to
earding IT, ask him why. III ne ran = ~ ,a,Snni,t
ne voIir own Judgment from an actor sthuPo"'.
And 1t is. AS long Us an actor uo r1ntnue
eider his work an art, long VIII nhnipci' LILLY,
H. engage incompetent men. who may iooh uho Pau,
or In some manner resemble the creator vi i.' CIV nv
,,fe right say /. The theatrc II more ol PVio
than medicine, law or paluhH ioi ,tr,itnrr mn.
M, a. Wanting will never fade but Will i've lo Year,
after the man who conceived IT has passe9 awaN
don't however, want to BE- msundcrstoou. niI oniy
o oeerver not an orator. but an observer WHO "ouiu
~ ~ the % DAYS love be good ACTOR ann ONO WIZ
oil not have n auack any than he would acceps
counterfeit money In lieu OF the genuine CON-