New-York tribune., 1901-01-06


American stage was an institution of but slight
importance. It had existed, under many difficult
ties, for about fifty years. The principal theatres
were situated in Philadelphia, New-York, and
Boston, while minor theatres led a precarious
life in Albany Hartford. Providence, Washing
ton. Wiamsburgh. Annapolis. Baltimore. and
Charleston The dramatic field was narrow and
the actors were few. The total population OF
the United States did not much exceed 1000 O00
The city of New-York as late as 1907, con-
tanned only about $4,000 inhabitants while Bos-
ton contained about 36000 The reigning theat-
rical potentates Wignell. in Philadelphia
Hallam. in New-York. and Powell, in Boston.
Communication between the towns was main
tained by means Of stage coaches. and profess
sional excursions were occasionally made by two
or three stock companies. The starring system-
which is said to have been introduced BY Fennell
Qs06),-had not then been established. The chief
playhouse OF New-York vas in John-st., and
it was designated. simply,-and for those days.
sUficiently.-es The Theatre" Hodgkinson.
Cooper, Harwood. Holman. Bernard. Fennen.
Jefferson grandfather OF the Jefferson OF TO-
day.. Warren, Twaits Blisset. Wood Mrs. Mar
shau,-whom General Washington had admired
and Mrs. Merry tAnne Brunton). among
the conspicuous players Of the time.
The average salary paid TO actors. OF every
plays customarily offered were such as had al
ready been We'll received in England. The actors.
on some occasions would go from house TO house.
soliciting patronage ard selling tickets TO their
performances. The press derived no material
benefit from theatrical advertisement and gave
but little attention TO the theatre,-its COM
ments IN general. being perfuuctory and pom
derous The social status OF the actor was.
comparatively, low. Barrooms were often as
sociated with the theatre, and not only then
but for many years afterward females engaged
in vice vocation were allowed access 70 a
certain part OF IT, Most things were provincial.
The standard Of taste however. as 20 intellect
ual matters, was high the audience, in gem
eral was fastidious; the tragedies of Shake
speare and the comedies OF Farquhar, Sheridan.
Colman and Goldsmith were popular; and the
art OF acting was earnestly practised and Sc
rously viewed. Many OF the actors OF that
period were men who had received classical
education. The dramatic tide, OF course. howed
out of England. as il had done from the first.
II has long been customary to descant on the
public taste as an inherent force. and to inti-
mate that conditions ensue upon fuctuation In
that faculty; but. matter of fact, the pub
lie taste' is fortified and led by external inhu-
ence. In theatrical history periods have always
been dominated by exceptional and redoubtabie
individuals. In the sixteenth century Burbage
Lowin. and Tarleton appear to have set the
fashion. In the seventeeth century Betterton
and Mrs Bracegirdle reigned supreme. In the
eighteenth century Garrick Barry. Wilks. Peg
Wellington and Mrs. Cibber overshadowed
everybody else. and led the world captive At
the beginning of the nineteenth century and
when the scene had been newly. set in America.
Hodgkinson and Cooper were in the ascendant
as tragic actors. and Jefferson. Bernard and
Warren as comedians. George Frederick Cooke
and Mary Duff came in 1910 and Edmund Kean
in 1920 and their influence upon our stage, pre-
served and transmitted through long profess
slonal lineage. is still potential. The year 1882
so fatal to renowned persons. saw the death of
Warren and jefferson, and by that time Anne
Brunton and almost all the shining dramatic
lights of the period had been extinguished
Cooper had retired from the theatre. Mary Duff
was in her decadence. Cooke died in 1872; Kean
in 1888. The American career Of the elder Wal
lack began in 1875 that OF the elder Booth in
1921; that Of Edwin Forrest in 1926; and the sec
ond quarter OF the century illumined by those
three actors-each chieftain In his peculiar do
main, and each potent to diffuse the abiding
force of fascinating and irresistible example.
Wanack was the most accomplished and the
most ridescent of comedians. in the higher
walk-playing Don Felix Benedick, Rover Dori
court and Massaroni as nobody else could ever
insanity of dramatic genius incarnate. Forrest
with a spark of the divine fire. was the most
splendid animal force that the stage has seen;
he had all the vigor of Salvini. and a finer
voice Booth died in 1852: wallack in 1864
Forrest, reaching his zenith and passing it. be-
tween 1886 and 1856. began then to decline. till
worn out with trouble, sorrow and bitter men
tai conflict, he died. in 1872 Meantime Edwin
Booth born in 1888, had served hard novitiate
in California and about 1857 his superb genius
| intellectual and spiritual we'll humanity
| sympathetic and winning. burst like a diamond
| sunrise on the Eastern cities, and thereafter,
| for we'll nigh thirty years, and throughout
| period remarkable for fecundity OF dramatic
| enterprise wealth of diversified contemporary
| ability and splendor of dramatic achievement.
! ne led the stage and the standard of his
/ time in tragic art and his time adorned
| with such names James Il. Murdoch, E. s.
| Conner, Charles Kean, Charles Fechter J. W.
| Wallack. jr, Edwin Adams, c. w. Coudock
! c.. V. Brooke James Stark, e. l.. Davenport
Charles Mathews. Lawrence Barrett. John Nc
Cullough William Creswck, Dawson, Sonnen-
thai. Haase. Rossi and Salvini together with
J Charlotte Cushnan. Ellen Tree, Emma Waller
Charlotte Crampton. Julia Dean. Matilda Heron