New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1910-04-11
BEN GREET ON HIS PLAYERS.

To the Editor Of The Tribune
Sir: Whilst thanking you for many
courtesies. / make bold 10 ask for a per-
sonal explanation and chance 70 help re-
move any nisconception that may have
been formed by expressions used IN your
last review Of my players and IN the re-
views Of several OF your contemporaries at
the Garden Theatre. II was I imagine, by
coincidence that you mentioned the com
pany I transported from England over seven
years ago, as I find. on referring 70 the
article appearing IN The New-York Tribune
OF October II. 1902. that almost identical
expressions are used. only worse Now,
quite agree with you with regard to the
lady you SO rightly apOstrOphized. She was
dubbed "a nsmeless. raw amateur in those
days. Why? Because she was unknown?
Hardly. think. But because she was then.
as now, a natural. human actor. This
shibbOleth. amateur" has been the war
cry Of all the dramatic critics anent our
representations ever since, and I'm begin
ming to get tired Of Il. as II tends to empty
my houses and deprives many people. so
1 think. OF the great advantage Of seeing
great deal OF natural acting and some
very beautiful plays. After all. 1t is. take
It. the point OF view. This Is mine. al any
enco as actor. manager, producer and
teacher (as all producers are). and don't
believe I'm an irnpostor az all these trades.
With a combination OF the four fancy
must know something. May I therefore
say here that I am responsible. 20 q largo
extent, for that particular style, or method,
or expression. that is prevalent upon my
stage7 I do not allow my actors to BE-
have like roaring bulls or human windrills.
never allow a false quantity or condone
wrong emphasis or pronunciation nor that
undue Importance 20 the personal pronOun
by voice and gesture so common upon our
stages At the sans time. certainly pre-
fer the human reading OF a character TO
the scholastic I venture to believe our
audiences over here are bred on traditions
a good many Of them bad traditions-and
they, as well as some OF the critics, expect
US TO Observation-Disclosures the footlights!
Really. sir, the assumption that because
people do behave like human beings IN the
poetic drama. they are. as actors. amateur,
Is grotesque. At least three-fourths OF my
players are people OF excellent experience.
never have amateurs rightly so called
At the present moment IN The Tempest"
there IS only one actor who has had less
than three years experience. and I got
him out of one OF the recent Broadway sue
cesses. Any professional critic or any mem
Der Of an audience Is at liberty 70 express
an opinion, but hardly think II is lust 70
put such statements into the public press
without substantiation. Acting Is, after all,
a matter OF opinion. Amateurs. after all
are persons who act for the love. not for
the rewards. OF II. There are amateur act
ors. painters, musicians. dancers, cooks and
chauffeurs. just as good. possibly. as paid
actors. etc Men or women cease TO be ANA
teurs when they become professionals. II
IS undoubtedly my misfortune that so many
people prefer exaggerated and overcolored
acting. because I cannot see my way TO
have Shakespeare acted in the unnatural
style Ninety-nine out OF every hundred Of
his characters are so utterly human So
please forgive me and be forbearing II We
trv 10 he human. BEN GREET.
Garden Theatre. April :. 1870.