The Providence news. (Providence [R.I.]) 1891-1906, 1896-04-06

EOst tOufiLhNs
wave or success while others of sterling
merit have been plunged into the trough
OF disaster.
The success or failure Of a play Is often
q 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- es-especially in the way.
of dialogue and dramatic cclimaxes-which
meet with various measures OF approval or
reprobation. A genius like Shakespeare
or Sardou or Schiller, Of course, can con-
quer 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
ality OF the artist. Rachel and Ristori
did and Bernhardt and Duso can make
successes of plays where all others would
fail. The same will apply to Garriek,
Macrcady, Forrest and Booth. The late
Edwin Booth, for instance, was not re-
gRrded by many competent critics to be
one whit better actor than his famous
oompeers 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 will apply TO less brilliant
luminaries in the dramatic horizon, men
and women who possess similar mag
netio power, though in a minor degree,
to the great stars ] have mentioned.
No one before the public now that know
OF, for example, can win the popular heart
in their inimitable persopation of the parts
of Fighting Bob Acres and Mrs. Malaprop
as Joseph Jefferson and Mrs. John Drew.
Neither could any other twain as accepta-
bly, perform the two Dromios as did Rob-
son and Crane when they were together.
And So too, with Maurice Barrymore He
made the part of Captain Swift, In the
drama Of that name, and other actors just
as competent as he failed ignominiously
when they essayed it. / might thus go on
indefinitely by way Of illustration, but
these examples will suffice.
Another point which is given great con-
sideration In these days Is what the critics
call realism with its accompanying
scenic and mechanical effects Sarah
Bornhardt despiscs IL and docs not hesitate
to exploit her sentiments upon tho subject
mt all timos and under all circumstances
The great French tragedienne believes that
the art OF tho star should alone be able TO
thrill the audience and hold its attention
throughout. She thoroughly abhors any
adjunct to art.
On the other hnnd, so eminent an actor
as Henry Irving believes implicitly In ey-
cry possible aid to art. Tho scenic and
mechanical effects In NIL his plays are truly
magnificent. In this regard no spares
neither time nor expense. Ho is grand
stage manager as woll as splendid actor
Between two such eminent authorities
upon this widely discussed question will
leave my friends tho public to Judge which
is correct In tho positions they have taken.
They can best decide tho point at issue.
1t is understood, l assume, that when
speak of tho drama do not consider those
crude vehicles Of amusement known ma
burlesquos or farces as within Its grand
domain. Comedy is all right. Refined
comedy can and should bo classed with
tragedy. 1t is It's happy concomitant, the
silver lining 60 tho cloud In almost CIV.
cry strong melodrama We have pleasing
blending Of the two.
do not mean 90 cast any ridioule upon
these exhilarating bits Of lovity have
mentioned. I merely maintain that they
do not core within the province Of the
drama which really is n history OF our own
and other times, while these mlrthful out.
bursts arc but exaggerated and heetipR
fancies of tho hour. They are perfectly
proper In their way, chcorfully admit.
They Tighten, temporarily at loast ones
burden of care or sorrow, but I'm the scri.
Gus business OF life where man or WON.
IN wishes To be instructed ms well as enter