If English actors are so much better than American, how is it that an American star is supported by the English? Mary Anderson is certainly an American actress, and she is supported by English actors. Is it possible that the superior support the inferior? I do not believe that England has her equal as an actress. Her Hermione is wonderful, and the appeal to Apollo sublime. In Perdita she "takes the winds of March with beauty." Where is an actress on the English stage the superior of Julia Marlowe in genius, in originality, in naturalness?
Is there any better Mrs. Malaprop than Mrs. Drew, and better Sir Anthony than John Gilbert? No one denies that the English actors and actresses are great. No one will deny that the plays of Shakespeare are the greatest that have been produced, and no one wishes in any way to belittle the genius of the English people.
In this country the average person speaks fairly good English, and you will find substantially the same English spoken in most of the country; whereas in England there is a different dialect in almost every county, and most of the English people speak the language as if was not their native tongue. I think it will be admitted that the English write a good deal better than they speak, and that their pronunciation is not altogether perfect.
These things, however, are not worth speaking of. There is no absolute standard. They speak in the way that is natural to them, and we in the way that is natural to us. This difference furnishes no foundation for a claim of general superiority. The English actors are not brought here on account of their excellence, but on account of their cheapness. It requires no great ability to play the minor parts, or the leading roles in some plays, for that matter. And yet acting is a business, a profession, a means of getting bread.
We protect our mechanics and makers of locomotives and of all other articles. Why should we not protect, by the same means, the actor? You may say that we can get along without actors. So we can get along without painters, without sculptors and without poets. But a nation that gets along without these people of genius amounts to but little. We can do without music, without players and without composers; but when we take art and poetry and music and the theatre out of the world, it becomes an exceedingly dull place.
Actors are protected and cared for in proportion that people are civilized. If the people are intelligent, educated, and have imaginations, they enjoy the world of the stage, the creations of poets, and they are thrilled by great music, and, as a consequence, respect the dramatist, the actor and the musician.
Question. It is claimed that an amendment to the law, such as is desired, will interfere with the growth of art?
Answer. No one is endeavoring to keep stars from this country. If they have American support, and the stars really know anything, the American actors will get the benefit. If they bring their support with them, the American actor is not particularly benefitted, and the star, when the season is over, takes his art and his money with him.
Managers who insist on employing foreign support are not sacrificing anything for art. Their object is to make money. They care nothing for the American actor—nothing for the American drama. They look for the receipts. It is the sheerest cant to pretend that they are endeavoring to protect art.
On the 26th of February, 1885, a law was passed making it unlawful "for any person, company, partnership or corporation, in any manner whatsoever, to prepay the transportation, or in any way assist or encourage the importation or emigration of any alien or aliens into the United States, under contract or agreement, parol or special, previous to the importation or emigration of such aliens to perform labor or services of any kind the United States."