New-York tribune., 1906-10-07

Thomas Y CrOweI & Co
Mr. Moses considers in a dignifed manner the
parts played by actor-families in maintaining
the traditions and standards Of the drama in
the United States. without anywhere definitely
saving so, he makes clear how much the AIneri-
can stage and, indeed, the theatre throughout
the English speaking world. owes TO those play
ers who have adopted acting as serious prOfes-
SION rather than as means for exploiting their
vanity. Mainly through the wholesome ln1iu-
ence exerted by those who. born and brought UP
in the atmosphere OF the theatre, have become
actors by force of example. heredity and en-
vironment, the good repute of the stage is shown
to have b>en upheld in the face OF the debasing
and disintegrating agencies of cOmmercialisu
and meretriciOus sensationalism-
The authors personal acquaintance with the
American stage evidently does not extend very
far back and large part of the work is neces-
sarily the result OF research and compilation
How thoroughly Mr.. Moses has fortified himself
for his task is shown by the thirty pages of bib
biography which form the appendix TO the vol
une While. in his consideration Of those play
whom it was not his privilege to see upon
the stage, ne has been compelled to depend upon
the judgment of contemporaries. he has shown
discrimination in the weighing OF the printed
testimony. His treatment is an agreeable COM
bination of history. genealOgy. biography and
criticism. his narrative is enlivened with anec-
dOtes and he writes with facile pen He be-
heveS in orderly stock system the best
school and stimulus of the drama. wherein his
judgment is sound and looks forward TO the es-
tablishnent OF "a national theatre where We
may turn for some standard of taste and judg-
ment.' wherein his usual sagacity is tempered
by his enthusiasm Modern conditions, he be-
lieves. tend to hamper the development OF his
trionic genius. He writes:
Tie magnitude Of art in the actor-famiIes de-
CreaseS from generation to generation; IT is difficult
to characterize any player of the present purely
gagged TO do what a manager wishes him 10 do He
hardly becomes identified with one company before
sing in musical 5 GSnledy or to talk in farce as
suits his versatility. his inclination The con
dltions OF the theatre to-day are different from
conpete With RooiS or FoTrest x{fb WaIJscE ~
Davenport But because ne demand has NOT ss
yet called forth such type. cannot assert that
gress. however. in our study. the more concIu-
sive We will become that a stock company is Pre-
management yet tried in America
Mr.. Moses traces the history of the Booth fam
lily from two generations before Junius Brutus
established its theatrical b-Ench- He writes
graphically of that famous evening when Booth
and Kean appeared together at the Drury Lane
Theatre In the pit the Cowdeu Clarkes were
taking notes for their "Recollectiozs OF Writ
ers'; Hazlitt there, as dramatic critic:
Goodwin. the father-in-law of Shelley, was rush
ing around and exclaiming. This is a night 70
be rememberedT' while John Howard Payne was
observing the unparalleled contest. of which he
made this later record:
Il saw Booth in the part of IagO 20 Kean's OtheIIo
The house was packed from PIT TO gallery; IL was
a great performance and grand sight. The ueS.
little man behaved himself like great hero keaa
seemed To feel the force of the newcomer. and per
formed up To the fun height Of his wonderful pow
eFS- In the jealous their acting appeared
like set trial of skill. and the applause that
lowed the end of each of their speeches swept
the house like tornado The effect almost
bewlldeTinS. Al the end Of the play both Of the