New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-03-24
THE ROMANTIC DRAMA
Lewis Waller Declares II Is as
Alive To-day as Ever.

Lewis Waller. who has established him
self here as we'll as in Englend as an
actor-manager, and who is now appearing
at Days Theatre in Monsieur Beaucaire.
has for some time been recognized as one
Of the most successful English speaking
actors in romantic drama Though he has
won admiration in modern plays and in
shakespearian productions rs well his
name Is usually associated, in tn minds
OF theatregoers, with the action and para
phernalia of the romantic" drama.
''Au my life people have been telling me
that the romantic drama was either dead
or about to die" said Mr. Waller in his
dressing room the other night speaking
Of a subject which is of vast interest TO
him. And all my professional career-or
most Of It," he continued Il have been
appearing successfully in romantic plays.
You see, l have quite naturally been I'M
able 10 believe In the demise of this type
Of stage art.
The fact Of the case appears to be that
the romantic drama depends on the TO-
mantle actor. When the player with a
genuine special talent in this direction APP
pears he succeeds. But the romantic
play is helpless without the actor specially
qualified to convey fits sentiments to the
audiences. The best play of this kind ever
written could he killed by a performance
too rnatter-of-fact or lacking in that in
definite something of spirit and bearing
which is necessary to put 1t over the foot
lights.
The ono thing that did most to deter
me from endeavOring to establish myself
IN America long ago was the repeated as
surance given me by well informed people
that though the romantic drama might
still linger in old England II was indeed
past and dead issue in this younger COun-
try. They had 50 many arguments and
proofs of their theory that I made the mis-
take Of believing them. And yet ! could
never quite convince myself that human
nature could be SO different I'm America
from anywhere else.
after having spent several months in
New York / became convinced that my
well meaning advisers were in error. !
found the American people if anything,
more disposed by temperament to admire
the romantic and heroic than BritOns. II
was when | had arrived at this conclusion
that / determined to become my own man
ager here as well as i'm London and TO
test the truth or falsity Of my idea by
making a production Of my greatest ro-
mantle success Monster Beaucare.' had
played this play nearly nine hundred times
in the British Islands. and it seemed to me
that no fairer trial could he made than to
offer II in New York. knew tGat a great
actor, the late Richard Mansfield, had
played this same romantic comedy with
admirable results some few years ago just
before J first produced it IN London But
this was only another reason for making
me think that production Of this work
would prove once and for all whether the
temper Of the people was al present abso-
lutely set against such plays.
In order that the test might be con-
elusive. / engaged Miss Grace Lane, my
original English leading woman i'm this
play. to come TO New York for the first
time and had new scenery built here. 1t
seems 10 me that the result speaks for
itself.
II am convinced that the American public
Is willing to accept romantic plays, and |
intend to produce them right here in New
York"
An obvious request to make was for some
definition Of romantic plays" Mr.. Waller
complied rather with illustration than in
general terms.
THE romantic drama is not such either
by-yirtue of costumes OF period Of action"
he explained 1t is the real romantic
spirit that counts Moths was modern
play. but distinctly romantic, and even
such a masterpiece as The Prisoner OF
Zenda,' which just missed presenting IN
England IS supposed 10 be contemporary,
though In mythical country. / shall soon
present I'm New York another romantic
play. which is also Of the present day
Fl have just said that costumes do not
make a romantic play-but they may surely
spoil one The majority Of romantic plays
are, after all costume pieces, and the
costumes have no small importance in Gre
s,ing the right atmosphere. The romantic
play IL the drama away from the routine Of
daily reality, and clothes and surroundings
out OF the ordinary may be very useful In
leading the mind out Of well trodden, IA
railiar pathg II the costumes are bad-or
II they are badly worn, which is worse
they OF course set everything out Of focus
NJ the start. The necessity Of having abso-