M. Charles Fechter.
Gad's Hill, Tuesday, Sept. 4th, 1866.
My dear Fechter,
This morning I received the play to the end of the telegraph scene, and I have since read it twice.
I clearly see the ground of Mr. Boucicault's two objections; but I do not see their force.
First, as to the writing. If the characters did not speak in a terse and homely way, their idea and language would be inconsistent with their dress and station, and they would lose, as characters, before the audience. The dialogue seems to be exactly what is wanted. Its simplicity (particularly in Mr. Boucicault's part) is often very effective; and throughout there is an honest, straight-to-the-purpose ruggedness in it, like the real life and the real people.
Secondly, as to the absence of the comic element. I really do not see how more of it could be got into the story, and I think Mr. Boucicault underrates the pleasant effect of his own part. The very notion of a sailor, whose life is not among those little courts and streets, and whose business does not lie with the monotonous machinery, but with the four wild winds, is a relief to me in reading the play. I am quite confident of its being an immense relief to the audience when they see the sailor before them, with an entirely different bearing, action, dress, complexion even, from the rest of the men. I would make him the freshest and airiest sailor that ever was seen; and through him I can distinctly see my way out of "the Black Country" into clearer air. (I speak as one of the audience, mind.) I should like something of this contrast to be expressed in the dialogue between the sailor and Jew, in the second scene of the second act. Again, I feel Widdicomb's part (which is charming, and ought to make the whole house cry) most agreeable and welcome, much better than any amount in such a story, of mere comicality.
It is unnecessary to say that the play is done with a master's hand. Its closeness and movement are quite surprising. Its construction is admirable. I have the strongest belief in its making a great success. But I must add this proviso: I never saw a play so dangerously depending in critical places on strict natural propriety in the manner and perfection in the shaping of the small parts. Those small parts cannot take the play up, but they can let it down. I would not leave a hair on the head of one of them to the chance of the first night, but I would see, to the minutest particular, the make-up of every one of them at a night rehearsal.
Of course you are free to show this note to Mr. Boucicault, and I suppose you will do so; let me throw out this suggestion to him and you. Might it not ease the way with the Lord Chamberlain's office, and still more with the audience, when there are Manchester champions in it, if instead of "Manchester" you used a fictitious name? When I did "Hard Times" I called the scene Coketown. Everybody knew what was meant, but every cotton-spinning town said it was the other cotton-spinning town.
I shall be up on Saturday, and will come over about mid-day, unless you name any other time.