The Dalles daily chronicle. [volume] (The Dalles, Or.) 1890-1948, 1899-03-10
THE LEGIT1MArE DRAMA.

serve humanity specifically that the
public will not in these end of the
century days support that type OF
the drama known as the legitimate.
Actors who have tried to star ard
failed, dramatic critics, whose pro-
fesslon has rendered them cynical
and placed them out of touch with
the thought of real people, and those
who follow the sayings of these two
classes of men, often declare that
the taste of the modern public is low.
They cite the fact that such and
such great star has failed in trying
to carry legitimate company On an
extended tour, or that such and such
a famous actress has ruined her
health and depleted her purse IN
seeking to give remote sections of
the country Shakespearian drama.
So often were statements of this
character made, and so many in
stances of failure could be pointed to
that a portion of the people came to
believe it true.
They failed to consider, however,
that the failures were due not TO the
public lack of appreciation of the
stars abilities, but to the fact that
the supporting company and the
staging were inferior. It is odd how
many great actors haye made the
mistake of supposlng that their own
greatness will carry the whole COM
pany. The public wants to see all
the plays well done, but it especially
wants to see the legitimate, well
done, or done not at all. A light,
modern society play may be lndif-
ferently presented and still give
some amusement to Il cultured audi
ence, but a legitimate comedy or
drama does not admit of inferior
presentation. The best is all that is
good enough for it. In the hands of
poor actors, although the leading
roles may be well cast, a legitimate
play is to be summed, and theater-
goers act Epon this rule. Presented
with poor support, there is nothing
in the world so dreary to modern
senses as the legitimate; we'll pre-
sented, there is nothing more at
tractive.
These things have been proven by
the last tour of Henry Irving in this
country. 1t was not his name alone
that GRO wded his houses, but the fact
that ne was equally conscientious in
his productions on the road as in his
home theater. He demanded of his
people the best. His support was of
actors. His plays were staged in the
highest of the play producers art.
Again were they proven by the all
star presentation of ''The Rivals
some years since, when the best
actors in the land took minor parts
at great salaries. The brief tour of
the company was tremendous sue
cess financially, as well as artistically.
And now. again, are they being
proven by the tour of the James
Kidder-W Warde com blnation. This
company has played from New York
through the Atlantic coast states,
through the south, through far away
Texas, through California, and is
now in the Pacific northwest. Every
where, although prices at the theaters
have been advanced, the houses have
been packed. In every way the
people have shown their appreciation
OF the legitimate as presented by
Louis James. Kathryn Kidder,
Frederick Wa:de, and their support
ing company. Sheridan's exquisite
old comedy, ''The School for Scan
dai," and Shakespearian plays have
formed the sole repertoire, and the
people have forsaken with delight
the farce comedy and the modern
society play to see them.
All of which goes to show that it
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