The Stage in the United States.—The "Stars."—French Plays. Mr. Augustin Daly's Company.—The American Public.—The Theatres.—Detailed Programmes.—A Regrettable Omission.
he American stage boasts some excellent actors; but it owes its prestige rather to the talent of a few brilliant individualities than to distinction of ensemble.
The plays are written for certain actors, and the secondary parts are made to serve the purpose of throwing up the "star." This is why the French plays that are transplanted to the stage of America generally fail. I saw one very striking proof of this in New York. Mr. Abbey, the indefatigable impresario, director of Wallack's Theatre, brought out L'Abbé Constantin. The principal rôle was entrusted to Mr. John Gilbert, a veteran of the American stage. Certainly M. Got himself could not have played the part of the good old priest with more simplicity, tenderness, or pathos; but this was not enough in a piece which demands at least half a dozen actors of talent, and the play was a complete failure.
French plays are written, not for "stars," but for whole companies of actors. The author knows that such and such an actor will play the lover, that certain others will take the rôles of the father, the prosaic notary, the brilliant officer, the valet; that certain actresses will create the parts of the coquette, the ingénue, the soubrette, the duenna. He knows that the director will only entrust the members of his company with such parts as are well within their province. The translator of these plays runs his bark with a light heart towards the rocks of failure. Sometimes he does worse than translate—he adapts. A study of French manners is transferred to America with American personages. The play becomes incomprehensible, unreal, and it is not the acting of a "star" that can redeem or save it.
American theatres are not subventioned by the State, and private enterprise can scarcely afford to give the public the luxury of a whole company of talent. The "star" is usually his or her own manager, draws the public, and realises the profits. The répertoire consists of two or three plays, which are performed before a New York audience for a month or two, and then taken around to the chief cities of the States.
This is why one sees fresh companies nearly every week in half the theatres. To-day a drama, next week a comedy, opera-bouffe the week after. Sometimes the change is still more brusque. Mr. Irving and Miss Terry gave a series of performances at the "Star" Theatre, New York, during the month of March last. On their departure, they were succeeded by a troupe of performing monkeys. The theatre was just as likely to have been hired by travelling revivalists.
There is but one company of actors in America, and that is Mr. Augustin Daly's excellent company of comedians. I have seen comedies played with much ensemble at the Union Square, Madison Square, and Lyceum theatres, in New York; but Mr. Daly's picked company is incomparably superior to any other to be seen in America, or, for that matter, in England either, if one excepts the admirably even opera company of the Savoy. Mr. John Drew is a young lover, agreeable to look at, gentlemanly, natural, persuasive, full of life. Mr. James Lewis, whose grotesque face is a veritable fortune, is the best high-class comic actor on the American stage; Miss Ada Rehan's coquetry is irresistible. A certain coaxing drawl in her musical voice lends great seductiveness to a very handsome presence, and gives an additional charm to her clever acting. Mrs. Gilbert, who is so like Mdlle. Jouassin, of the Comédie-Française, as to be mistaken for her, is the equal of that actress in some of her "duennas" parts. The actor whose rôle consists of handing a card or letter to his master is an artist. This is the stage as we are used to it France.
If good companies are rare in America, good actors are numerous.