"Ponteach" was probably never given in Rogers's time. There is no record of its even having been considered by any of the theatrical companies. It was published in 1766, with a London imprint on the title-page.[3] There is some slight probability that it was given an amateur production at Lake George by the summer residents there—certainly an appropriate spot to present a play by Rogers, inasmuch as the Ranger was known in that neighbourhood, and there is now familiar to all visitors a place called "Rogers's Slide," marking one of his escapades with the Indians.
In the present collection, the editor has followed the text of the 1766 edition, fully realizing the consistent changes made by Mr. Allan Nevins in his edition of the play which, with an Introduction, Biography, and invaluable historical notes, was published in 1914 by the Caxton Club of Chicago.[4]
This piece is one which is not only interesting as representative of the early type of Indian drama in America, but it is also interesting as reflective of the attitude of a dramatist with a problem to propound. "Ponteach" is our first American problem play. Parkman claims that at least part of it was written by Rogers, thus throwing doubt on his entire claim to authorship. There is not only a dignity displayed in the drawing of the main character of the Indian, but there is a very naïve attempt at subtle humour in the characters of the Englishmen. There is no distinct excellence in depicting Indian character as such, after the romantic manner of Cooper, although Rogers, with his English tradition, has been able to lend to his dialogue a certain dignity of diction which is striking, and which gives the play a decided literary value. Taken, however, as an historical document—and Mr. Nevins does this—one can trace in "Ponteach" the whole range of Rogers's experience as an Indian fighter. There are constant allusions in the text to matters which Mr. Nevins has found necessary to explain in copious footnotes, and therefore to the student I would recommend this single edition of the play. "Ponteach" is published here, not from a scholarly standpoint, but simply as an example of early Indian drama.
Of these Indian dramas, there are many examples in the early history of American playwriting. Laurence Hutton has an entertaining chapter on the subject in his "Curiosities of the American Stage," in which he enumerates such titles as "Oroloosa," "Oroonoka," "Miautoumah," to say nothing of "Hiawatha." "Metamora; or, The Last of the Wampanoags" was brought to success through the powerful acting of Edwin Forrest, December 15, 1829. William Wheatley, of the Park Theatre, was likewise famed for his Indian impersonations. Among other more or less well-known plays of the species, enumerated by Wegelin, are:
F. Deffenbach. "Onliata; or, The Indian Heroine." Philadelphia. 1821.
Joseph Doddridge. "Logan: The Last of the Race of Skikellemus, Chief of the Cayuga Nation." Buffalo Creek, Brooke Co., Va. 1823.
G. W. P. Custis. "The Indian Prophecy." A National Drama in Two Acts, founded on a most interesting and romantic occurrence in the life of General Washington. Georgetown. 1828.
Nathaniel Deering. "Carrabasset; or, The Last of the Norridgewocks." A Tragedy in Five Acts. Portland. 1830.
W. H. C. Hosmer. "The Fall of Tecumseh." Avon. 1830.