The morning call., 1893-03-02

60. And for almost precisely the same rea.
sons"
But suppose they disregard your advice,
as some do, perhaps?"
Yes, many do. Then tell them to gel
with some good company, playing minor
roles for year or two or more.
"At the end or two or three years they
may then know better whether they are
qualified to become actors. And If they
come TO the conclusion that they are moi
guailhed-as many do-then at all events
their time has not been wasted, for they
have seen great deal of the country and
have broadened their scope of thought and
their vision of man and life by travelling,
and they have gained much useful knOwl-
edge that could not be gained in any other
way"
DO you advise aspirants to follow closely
the lines of the legitimate drama OF
TRAGEDY" ~ :.
the line in giving advice. l simply do not
give ii. Only time and practice will indi-
cate what line man is best fitted for. Ia
time his abilities will be noticed and he will
drlit naturally into the groove he is best
ntted for, be 1t comedy or tragedy, or what
ever 1t may.
81 make it a point of putting one OF two
beginners in my company every year for
the purpose of finding some good material.
1nls year my son has joined our company.
However much aman's incllnatuns may
sway him In the choice of particular roles,
ne Will at least be governed by natural fit
ness. l have often thought of Stuart Rob-
sons famous line that he used TO introduce
In Led Astray.' l think he says:
have the heart of Romeo and the
face of comic singer.
Now 1t is often the case that mans in
clinatiOns run toward branch Of the pro-
fession for which he is totally untitled by
his natural qualifications.
III spite of this il is UsuallV the raenIt nf
little experience that one reaches his true
sphere ON the stage sooner or Letter, and my
advice Is to any man TO weigh well his
qualifications before adopting his roles.
In tragedy there are certain physical
qualifications that one must meet. For in
stance one can scarcely imagine Roman
warrior under five feet two.
Mr.. Warde laid special emphasis on
under" and smiled softly. His own
physique fits him admirably for the narts
he essays and his voice, even in ordinary
conversation, is powerful and clear.
10 become successful actor in the
tragic field demands years rot only of hard
study, but of self-abDegation and self sacri-
hce. even absolute suffering. before one can
gain sufficiently the confidence OF the people
and win their applause and patronage in
the representation of the Intellectual parts
of the drama.
THE public taste for amusement is like
the taste for food. While for time they
uld9 llho eHtl6cS anu metanReS ana tanci-
fully c0ncocted dishes. they turn back with
satisfaction to a good wholesome meal OF
roast beef
"At present the modern society comedy
and the farcical and frivolous commands
the greater room on the boards; but for all
this | do not believe the public taste is de-
moralzed or going TO the dogs entirely, as
some people say.
ut is only a transient phase. The people
are enjoying their entrees now. They will
return to their roast beef sooner or later.
"1ndeed, our own tour has been most
successful. 1t has been satisfactory to our
audiences, II we can judge by the attend
ance and the applause, and satisfactory TO
US heyond our expectations.
This argues, | think, that the public still
has healthy appetite for strengthening
food.
''The trouble is largely In the fact that
most of the people in the theatrical busi-
ness as caterers to the public tastes are in t
for the money that can be made out of it !,
the same ss in any other business.
They naturally seek the lines where
there are the quickest profits and largest
returns, and II is left to the few individuals
who have higher aims and earnestness of
purposes and confidence in themselves as to
the acceptablity of their work to the public
to uphold the highest and best parts Of the
drama.
II might add that in European countries
this phase of art is subsidized, while in this
country it has to depend upon the indi-
ViduaL"