Year: 1875




Stage.


As the season advances the theatres of New
York become more interesting and more in
dispensable to the winters enjoyment but
the drama itself does not seem to keep pace
with the stage There is no city wherein
more intelligent and earnest work is devoted
to the production of plays. Mr.. Wallacks
theatre is in this respect a model.
The actors are at the head of their
profession, and the scenery is always
frame which makes the moving picture more
delightful. Yet this company, which is equal
to the performance of the finest comedy, is
not always engaged in work adequate to its
powers. Blossom Friends" now upon Mr..
Wallack's stage, is good play but it drags
at times Notwithstanding that it is produced
with a remarkable cast OF "Rose Michel,
at the Union Square Theatre, we might give
a similar judgment Both the scenery and
the acting are of a high order, and
Miss Rose Eytinge plays the touching
part of the heroine as well as it was played
upon the Partisan stage. Yet this forcible
melodrama does not give the artists full OPP
portunity. "Pique," which Mr.. Daily has
brought out at the Fifth Avenue Theatre, is
effective, but the company is better than the
play. ''Crucible'' we have yet to see at the
Park Theatre; but, let its merits be what
they may, we do not expect it to be as
attractive as Mr.. Oakley Hall himself
We must confess that our leading the
atres do not originate enough. They are
too dependent upon Europe for dramatic
literature, while they are independent in all
the other essentials of success. A pleasing
play ought not to be sufficient, but the am
bition of manager should be to present
dramas which shall bear the stamp of the
New York stage and pass current all over
the world, like silver trade dollar. This
was the case of the 'Shaughraun" last win
ter, which was created here and is now and
has been for months one Of the most brilliant
Of London successes. If our managers could
oftener do this they could make great
dramatic sensations as well as copy them
we think our standard drama would soon be-
come fully equal in value to our standard
acting, which is, certainly at our leading
theatres, not surpassed by that of any of the
capitals Of Europe, with the exception Of
Paris.


That the New York stage has not yet real
lied its own powers and duties is, however,
no disgrace. Time alone can develop the
unfolding flower Of art. But the stage has
evils which are blots upon its fair fame.
When we see on the one hand managers and
actors striving to elevate the theatre and
make it purer and brighter, and on the other
hand see the effort made to drag it down
into the depths, we can understand how
easily religion and morality can be arrayed
against the drama. 1t is like the shield
sable on one side and white on the other
which caused the two knights to fight upon
the question of its color. The people who
60 to our leading theatres, where morality is
respected, see the white side Of the shield;
but those who judge Of the stage by Matt.
Morgan's pictures see only its blackness.
Such exhibitions as these justify all the
Trades against the obscenity of the theatre,
from Jeremy Taylor down to Dr. Talmage.
They are falsely defended on the ground
that they are artistic representations Of ma
ture, but they are supported because they
are indecent. The police, we believe, have
not yet closed this demoralizing show, which
at once defies and destroys the sense Of pub
lie decency in New York. 1t is time that
the authorities should interfere for the pro.
lection of the morality of society, and it is
time for all who love art to protect it frcm
its enemies What is the use of seeking to
crown the head Of the fair statue Of the
Muse with flowers and laurel if we permit
her feet to be set in the mire Of detestable
filth?