The Topeka state journal. [volume] (Topeka, Kansas) 1892-1980, 1896-04-02
ROSE coeHLAN.

wave OF success, while others Of sterling
merit have been plunged into the trough
of disaster.
The success or failure of play is often
a question of environment. A drama
which would be greeted with salvos of ap-
plause in England France, Germany,
Italy or Austria, for instance, might meet
with cool reception over here in America.
Playwrights of different nationalities have
their idiosyncrasies-esp especially in the way
Of dialogue and dramatic climaxes-which
meet with various measures Of approval or
reprObatiOn. A genius like Shakespeare
or Sardou or Schiller, of course can con-
ouer success in any and every country
wherein cultured people reside They are
exceptions, however and exceptions, we
all know, only prove rules.
Next, and chief of all, comes the person
atty of the artist. Rachel and Ristori
did and Bsrnhardt and Duse can make
successes Of plays where all others would
fail. Tie same viii apply to Garrick,
MaeFeady, Forrest and Booth. The late
Edwin Booth, for instance, was not re-
garded by many competent critics to be
one whit better actor than his famous
compeers Edgar Davenport and Lawrence
Barrett, yet neither of these distinguished
mon could invest play with the interest
or command the success that Booth did.
The same rule viii apply to loss brilliant
luminaEies Ia the dramatic horizon, men
and women who possess a similar mag
netio power, though in a miner degree,
to the great stars have mentioned.
No one before the public now that 7 know
Of, for example, can win the popular heart
in their lnimitable PRESERVATION of the parts
of Fighting Bob Acres and Mrs. Malaprop
as Joseph jefferson and Mrs. John Drew.
Neither could any other twain as aoeepta-
bly, perform the two Dromios as did Rob
son and crane whea they were together
And So too, with Maurice Barrymore. He
made the part Of Captain Swift, in the
drama of that name, and ether actors Just
as Ornpstent as he failed ignominiously
when they essayed it. I ight thus go on
indefinitely by way of illustration, but
these examples viii suffice.
Anotber point which is given great con
sideration ia those days is what the critics
call realism, r with its accompanying
s0enio and mechanical effects. Sarah
Bernhardb despises it and does not hesitate
to exploit her sentiments upon the subject
at all times and under all circumstances.
The great French tragedienne believes that
the art OF the star should alone be able to
thrill the audience and hold its attention
throughout She thoroughly abhors any
adjunct to art.
On the other hand, so eminent an actor
as Henry living Believes implicitly in ev-
cry possible aid so art The scenic and
mechanical ELECTS in all bis plays are truly
neither tiEao noS expense. He is "a grand
stage manager az well as a splendid actor.
Between Two such eminent authorities
upon this widely discussed question I will
leave my friends the public co judge which
IS correct In che Positions they have taken.
They can best decide the point at issue
1t is Undarst1od, ! assume, that when
speak OF the drama I do not consider those
crude vehicles Of amusement known as
burleaques or fRrCes as within its grand
domain. Comedy is all right. Refined
comedy can and should be claszed with
tragedy. It is its happy conoomitant the
silver lining to the cloud In almost ev-
cry strong lnelodrama we have a pleasing
blending of the two.
40 not mean to cast any ridicule upon
these exhilarating bits Of lovity I have
mentioned. I merely maintain that they
do not come within the province of the
drama, which really is a history Of our own
and other times, while these mirthfuI out
bursts are but exaggerated and heeting
eancies OF the hour. They are perfectly
proper in their way, I chesrsuLy admit.
They Tighten, temporarily at least, ones
burden of care or sorrow, but ia the seri-
Gus business Of life, where man or wom-
an wishes to be instructed as we'll as enter
tained, the legitimate drama ought really
pn2y to be considered.
I know, indeed, that many of these
Lighter creations are more successful in
financial way than plays of genuine merit.
i know that many people would rather
witness the antics of the Tie Soldier
tBan study the conflicting emotions Of
Jim the PenTnan. I know poor George
knights heart Was broken when his really
kne, pathetic drama, Baron Rudolph, -
proved a failure and an airy little conoeit,
lover the Garden Wall, . saved bis ex-
BaeqUer In the main. however, I believe
hat she play Of sterling merit-she great
IlaE - via Triumph over al obstacles,
large or small, which stand IN its path.
When people wish to aotually be instruct
3 y they wiz seek the fountain Of knowl-
2gs. Ehsy VIII abandon levities. What
barle9que OF farce. musical or otherwise,
ssala Scr moment via saeh q triumph