OUR THEATRICAL PLAYGROUND.
THEtheatrical season in New York opened auspiciously about the first of September, and up to the present time shows no sign of in any way not keeping up to its early promise; and this despite the fact of an exciting presidential campaign, when mass meetings, torch-light processions and brass bands in the streets furnish all the elements of a free show outside the theatres. As a rule, a presidential year—at least the few weeks of the canvass preceding the election—seriously effects the attendance at all places of amusement. The past few weeks, however, seem to prove an exception. And no class of entertainment, so long as it is good, appears to be singled out for preference.
Colonel McCaull, with “Boccaccio,” easily led the comic opera patronage at Wallack’s. It was the best performance of the opera ever given in the city. Comedy and song are so happily blended in the work that it requires actors and singers to present it properly, and McCaull gave both. “Boccaccio,” by the McCaull Opera Company, will pass into the dramatic annals of this city as the last performance given in Wallack’s. October 6 Wallack’s ceased to exist, and a name which for more than a generation was a household word throughout the country passed away into a memory and becomes a tradition.
As a contrast to the rollicking fun of comic opera let us see how the Academy of Music is doing with “The Old Homestead.” Here is a medley—it can hardly be called a play—which savors so strongly of country life that one almost feels the breath of the new-mown hay, or the genial warmth of a happy hearthstone while witnessing Den Thompson’s performance. It is a touch of nature, and thousands throng into the Academy to feel its influence.
When young Sothern, at the Lyceum, came upon the stage asLord Chumley, an indistinct something or other flashed through the minds of old theatre-goers. It was impossible at first to tell what produced that feeling, but as the play unraveled itself, and Mr. Sothern warmed to his work, it seemed as if the spirit of the elder Sothern animated the younger, andLord Chumleywas a blood relative of the lamentedLord Dundreary. As was the case withDundrearyso it was withChumley—both sprung into popularity in a night. As in Laura Keene’s, crowds were drawn in days gone by to see the father, so now at the present day throngs fill the pretty Lyceum to look upon the son.
The handsome Broadway Theatre reopened with “The Queen’s Mate,” and the opera was followed by “The Kaffir Diamond.” Notwithstanding the admirable manner in which the drama was mounted and the magnificent performance of Mr. Aldrich asShoulders, it failed to meet with public approval. The play is not a good one. It has some strong points and good situations, but it drags in places. It is claimed it will make a good road show. It may, but I doubt it. “Mr. Barnes of New York” succeeded “The Kaffir Diamond” on October 15.
Edward Harrigan opened his theatre with another of those local admixtures which he calls “Waddy Googan.”Waddyis a hack driver, and Mr. Harrigan draws him to life, and places him in scenes and situations so faithfully true that the theatre is unable to accommodate his patrons. “Waddy Googan’s” run promises to be a long one.
William Gillette has made another success with “A Legal Wreck.” When he first produced it at the Madison Square he did not expect it would do more than fill out a part of his season there. Its success, however, was such that the piece will hold possession until the 10th of this month, when A. M. Palmer’s company returns to begin the regular winter season.
At Niblo’s Garden “Mathias Sandorf” came in with the season, and brought a flock of the prettiest ballet girls that ever adorned Niblo’s stage. “Mathias Sandorf” was said to be written by Jules Verne. M. Verne may have written it, but the people who filled the theatre at every performance lost all recollection of the story in the bright smiles and entrancing movements of the fairies of the ballet. Some managers have a weakness for the antique in the selection of their coryphées, but the rare experience of E. G. Gilmore and Bolossy Kiralfy teaches them that the young have much more attractiveness in the present day.
J. M. Hill has produced a play called “Philip Herne” at the Fifth Avenue Theatre. It was written by Mrs. Mary Fiske, a very bright writer, and a lady well known in journalistic and theatrical circles. “Philip Herne” has not yet come up to its manager’s expectations. The play has all the advantages of a good cast. After a four weeks’ run at the Fifth Avenue it went up to the Standard for a five weeks’ stay. Mr. Hill is a very plucky manager, and is not afraid to meet defeat. Sometimes he even turns defeat into victory. Who can tell? “Philip Herne” may yet result in the victory Mr. Hill believes it capable of achieving.
J. Wesley Rosenquest, one of the most enterprising and intelligent of our younger managers, has now two theatres to guide instead of one—the Bijou Opera House and the Fourteenth Street Theatre. At the latter place of amusement, Cora Tanner has made the success of her career in “Fascination.” “Fascination” is a comedy, written by Robert Buchanan, and is about as improbable a story as one can listen to. But what of that? The people throng to see the play, or Cora Tanner, or both; and in this way stamp its improbabilities with the brand of success.
RICHARDNEVILLE.