The courier. (Lincoln, Neb.) 1894-1903, 1899-07-01
THE PASSING SHOW
VILLA GATHER


American stage has suffered no such
loss az in the death Of Augustin DAILY,
critic, dramatist and manager, who died
several weeks ago in Paris. Now that
Mr.. DAILY has left us, it is possible to
say the things that could not be said
when he was with US. Now 1t is time
to cease testing about the DAILY hat and
the Temple Of the drama and the
limitations Of Miss Rehan and to
seriously consider what this man did
for dramatic art in America; all his life
he was identified with the stage in one
way or another. In his youth he was
dramatic writer on various New York
Journals, and at one time was critic for
five separate papers and that without
revealing his identity. AZ early as 1866
he began writing plays, and in 1869 he
began bis career as manager. He vas
then barely thirty-one. Among the
plays Of his authorship there were none
that will live far into the next century,
or that will add much to the command.
ing authority Of his name, but there are
several, such as Under the Gaslight"
and "Pique,' that we're useful pieces in
their time and kept inferior plays off
the boards. He concerned himself
largely with adaptations from the
French and German theatre, and for
years gave us the best plays Of those
countries, where the drama is regarded
and practised more seriously than here.
His proper sphere, however, was a
strictly managerial one. the production
Of plays and the training and instruct.
ing Of actors. tie introduced to the
New York public such players as Clara
Morris. Agnes Ethel, Fanny Davenport,
John Drew, Sarah Jewett, Emily Rigl
and Ada Rehan. Almost all of the most
competent actors on our stage today
received their best training at Days
hands. He was no pedant; he knew
where to polish and where to let nature
alone. He had his own standards and
believed in them thoroughly, but he
could admit others and even reject
them. When Clara Morris came to
town, frail clip Of q girl with big
talent and no means OF controlling it,
he let her alone. He disapproved Of her
method. or rather of her lack OF it. but
he realized tina. there was something in
the raw, fierce genius Of the woman that
would win it's own way, and that II she
had sny message worth the speaking 1t
must be spoken in her own way,
through the violent, cratic, unal tistic
medium that God had given her. In
her appearance in "Alixe" in his new
theatre on Eighth street, he scored bis
first great managerial success. Aud he
knew when to drop her. He knew that
the public would find only the transient
charm Of novelty in this undisciplined
violence, that no genius can perfect
itself without art, and that it lie only the
thing Of beauty that is a Joy forever.
The artist proper cultivstes method to
save himself and yet produce his effect.
He draws from within; he makes his
brain work,land learns to cherish and
save his emotional force. But Miss
Morris either could not or would not
learn this; she burned the wick, and she
burned it out quickly.
1t was 10 another woman that Mr..
DAILY found the eteel worthy Of his tenn
pering. In no profession have women
dominated 90 easily az in the theatre,
vet in none have they been 60 dependent
VD,, L.