Richmond dispatch. [volume] (Richmond, Va.) 1884-1903, 1895-06-16

productions but attend strictly 10 the
business of telling what was good and
what was not-principaily wha, was not.
This action suggests the first step TO
be taken In the iInperativeiy necessary
business of squeiching the encore nuis-
ancc. The newspapers should with one
accord cease to mention cncOres at con-
certs IL Is the custom now TO tell the
name-or at any rate TO try to-of the
composition given IN response to an en-
core. This ought TO be stopped at once.
The papers should not even mention the
fact that there was an encore. a con-
certed and sustained process OF silence
Will. In time, reduce the number OF en-
cores to those actually insisted upon by
the entire audience, and TO these no ope
objects.
The most serious reason for protesting
against the custom OF giving encores in
response TO the applause Of fifteen or
twenty persons In an audience of geve-
raj hundreds Is not. as some suppose.
that II is, inaTtistic. That consideration
may be laid aside The real objection to
il Is that IL IL case OF utterly Ubiquitous
minority rule Ten per cent. Of an audi
encc has no right 10 force the other %
per cent to listen to music 1t did no;
about it? Hiss? Yes. it can; but II does
not wish to, for fear that this action
may be mistaken for disapproval Of the
performance. The truth must be admitted.
that the matter IL beyond the power OF
the majority. Tha correction OF the abuse
lies wholly I'm the hands Of the artists
and the managers. l have limited taat
papers could DO much towards stopping
the encore nuisance. but the artists ought
10 end it, out OF respect FOR thcms Ives.
They should refuse poiEt-blank TO ac-
ccpt forced encore.
On the other hand. the managers might
do much by printing notices that the
audicnc. are requested 10 refrain from
encores. as the programmes are already
long enough. or they might reduce the
thing TO an absurdity by announcing the
names Of the encore numbers IN not at
the bottom Of the programme.
Speaking OF comic opera failures and
first night performances. with the ineyi-
table criticism IN the morning papers next
day. IL Is an interesting fact that Mama
ger Leath. the autOcrat OF tn Rich
mond lighthouses is strictly IN the move
ment agitating for a new style OF crit!-
cism. The office Of criticism is to be alto
gether showed under. according to this
plan, and the representative of the morn
ing paper Will have nothing 10 do but
record the varying emotions Of the au-
dience. The play vii no longer be che
thing" as far as the critic is concerned.
and the only attribute necessary for the
new critic" will be that he shall in
stantly be able TO detect the CLINT Of a
smile and that mis- ears shall be quick
10 note the inward chuckle. &" The Of
flee Of the critic under these circum-
stances in
large slice II the present dramatic edi-
tors salary will return to the Golfers or
the newspaper proprietors. and on tn.
other hand. THE churish ending of the
wintry blast" Will be less liable to strike
the box-ollice.
The idea is not an original one. how
ever, for as far back as 1854 Charles Mons
lett, very well-known French humorist.
adopted style OF criticism which had
the advantage OF giving the auditors inn
pressions. This is what he wrote after
he had witnessed the first performance Of
Meyerbecr's "L'E.cile du Nord":
"Prum. prum, prum. prum! prum. (Tho
audience looked ssriousD. La he, Ia he,
ia tedle, tedlc. iootletoodletotle, Ia he,
CIhe dilettanti look pleased and keep
time with their headsJ Frum, frum,
frum. bling, bing peohoo. CThe dilettanti
again lock seriOusD Bing peehoo, tootoo,
tetle toni tetle tom. Ledlledledledledll
Cfhis represents Peter the Greats ffes.)
Rubadedub. rubadedub, rubadedub, (Pe-
ter the Greats drumsD Lalahe, lalahe,
hu!e, hule! hule' hule! hule! behul behu,
hehui This grand music deeply Impress
es the audience) Ku he ha, Ku Ke!
ku he ka' ku couac, CThe con-
ductor turns round and looks steraly at
the clarinet player) Dzing, ding, ding,
ping ping Ia he, hinG, bingi frum, ding,
ttXplosion) Ium' yum! drIng. zing, Zap.
bang, tHeavens what noiseD Drin, din,
tedletedletedletedle' CThe flies againD
Rubadub. rubadedub, rub dub, ping hing,
boon! ding. ping. pans. creek. loud
arrlntLsn -