OUR THEATRICAL PLAYGROUND.
A FRENCHcompany headed by M. Coquelin of the Théâtre Française and Madame Jane Hading, of the Gymnase, Paris, made their American début at Palmer’s, October 8th. Palmer’s Theatre! How strange the name seems as it appears in print! It takes the place of “Wallack’s”—a name around which cluster the traditions of a playhouse that was the delight of New Yorkers for over a generation. Well! “the king is dead,” and close upon his burial came the comedians of France, to entertain an American public with French works in the home of English Comedy. M. Coquelin inaugurated the French season with Molière’s “Les Prècieuses Ridicules,” a couple of monologues, and a one-act piece, “La Joie Fait Peur,” made familiar to theatre-goers by Boucicault under the title of “Kerry.” New York gave the foreign players on the first night a welcome which assured them at once of the friendly spirit of an American audience. The visit of the Coquelin-Hading Company to this country, it is to be hoped, will be productive of good results. It was refreshing to be able to witness a dramatic representation by a good company, where scenery and costumes were secondary considerations. Coquelin in his acting demonstrates close study of his art in every detail. As a comedian, he is unapproachable. But when M. Coquelin attempts the heroes of romance he fails. The company engaged to support, though not particularly strong, have acquired much of the spirit of Coquelin’s acting. When one considers the elaborate productions of the American stage and compares them with the freedom from such show with which similar plays may be given, when acting is not subordinated to scenery and dry goods, the question naturally suggests itself, Is not much of this extravagant display in many of our theatres a mistake? The scene painter and costumer of to-day are of more account in a comic opera, for instance, than a prima donna. An opera may be produced with a prima donna devoid of singing voice, if she has shape, good looks, and sparse raiment to recommend her, but without elaborate scenery, and plenty of color and show, it would not run a fortnight. A similar state of affairs exists on the dramatic stage. It takes a small fortune to keep up the stage wardrobe of any actress who is called upon to play the heroine or a lady of fashion in modern plays. One of the brightest and most accomplished actresses of the American stage recently, after a great success in a part, on being complimented by a friend, accepted the compliment graciously enough, but felt considerably piqued because the critics did not notice the nice new frocks she had had made for the part, and which she expected to see praised quite as much as her acting. If the advent of M. Coquelin and Mme. Hading to this country will tend to correct some of these weaknesses, their coming among us will be of more benefit than was anticipated by their managers when the engagement was projected.
Augustine Daly opened the doors of his theatre, Tuesday evening, October 9, with an adaptation from the French of the comedy “Les Surprises du Divorce.” Mr. Daly calls his work “The Lottery of Love.” It was enthusiastically received on the first night, and it grew in favor with subsequent repetition. During the season it is the intention of Mr. Daly to produce, in addition to the more pretentious part of his plans, a number of short one-act comedies. They will precede the important attraction of the night’s entertainment. These “curtain raisers,” as some writer has christened them, are oftentimes very enjoyable. One of the most pleasing recollections of the last theatrical season was the presentation of “Editha’s Burglar,” at the Lyceum.
Speaking of the Lyceum, calls to mind the success of young Sothern in “Lord Chumley.” Since the first night he appeared in the comedy, he has crowded the handsome little theatre with well pleased auditors. The success is due more to the acting and personality of Mr. Sothern as the young lord, who is not such a fool as he looks, than to the merits of the play or the acting of the company. Young Sothern’s “Lord Chumley” is as good in its way as was the elder Sothern’s “Lord Dundreary.” The play of “Lord Chumley” is a piece of literary patchwork, rather skillfully put together, and afterward run through the sieve of thorough rehearsals. Daniel Frohman may be congratulated on the success of his promising young star and the good fortune he has brought to the Lyceum.
William Gillette’s victory with “A Legal Wreck,” in the very theatre—the Madison Square—in which his first play, “The Professor,” was brought before the footlights was complete. “A Legal Wreck” is not a great play, and Mr. Gillette did not aim to make it so. He did, however, attempt to make an interesting drama, and succeeded. Since its first night it has steadily improved. Judicious cutting down, and alterations in the stage business, have made it an effective acting play. When it is taken from the Madison Square Theatre and sent to other cities, it will meet with as much favor as here. When “A Legal Wreck” was first put on the stage it was not expected to be played more than a few weeks. It has exceeded expectations, and will run Mr. Gillette’s entire season out. A. M. Palmer’s follows with the regular Madison Square Company in a revival of “Partners,” after which he will produce “Captain Swift,” an English drama of the “Jim the Penman” order, which is highly spoken of by people who have seen it in London.
RICHARDNEVILLE.
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