VOL. III, No. 22.

ΤΗ

HE THEATRE: AN ILLUSTRATED MAGAZINE OF DRAMA, MUSIC, ART AND LITERATURE-Published every week from October to May, and as a monthly during the summer, at No. 42 West Twenty-third Street, New York.

The price of yearly subsbription to THE THEATRE IS four dollars in advance. The editor solicits contributions from the readers of THE THEATRE, and suggests that old play-bills, and scraps relating to the stage, notes, news and items appertaining to the different arts, would be acceptable. It is the desire of the editor to establish a widely-circulated magazine, and to further that end every good idea will be acted upon so far as possible. Care is always taken not to needlessly destroy valuable manuscript. All articles appearing in THE THEATRE are written especially for it unless credited otherwise.

It

IS CHRISTMAS what it used to be? doesn't seem to me that when I was a youngster (I am not so very old now), Christmas cards and toys were advertised the first of November, and Christmas Numbers" only seemed to come out in time to find glad faces at the breakfast table the morning of Santa Claus's visit. Now the magazines and weekly papers issue their holiday numbers so early that their subsequent appearance in the usual sombre form once again (and often several times) before Chrismas Day is singularly inapropos and not at all merry. Perhaps the greatest blot on the escutcheon of good old Bishop of Myra, whose bones have ne'er rotted since

WHOLE NO. 74.

The

the year 326, has been attempted by a number of contributors to a children's magazine called "Baby Land." A "symposium" recently published on the subject of "Santa Claus" indicates that there are a number of people represented as parents and teachers of children who deem it immoral and devilish to cause children to believe in the existence of the jolly old elf; that the realization, finally, that there is no such being is likely to make children doubt true and better teachings. There is no use arguing this thing. These deductions are absurd, and you might as well cast out from literature, lest it may injure young people, all fairy stories, mythology, and everything else likely to be believed in during that delightful period of life called childhood. mother who does not draw about her the joys of her children, and feel within her a charming reminiscence of early sweetheartedness in reciting Clement C. Moore's poem, The Night Before Christmas," is unworthy God's blessing. Why? Because it speaks of HOME! The man or woman, grown, who does not seem to have an empty place in thoughts of Christmas Day-a longing for the satisfaction of one moment's return, when the toy Noah's Ark or the tin locomotive was first discovered by the fireplace in the hazy dawn of that happy morn— has lived a life awry. I say, God bless Santa Claus, and God bless the children of those sweet, loving mothers who so live in their own gentle tenderness as to almost believe in that wholesome and happy myth. For he is an honest purveyor of the teachings of Christ, in that it is better to give than receive.

THIS is the Christmas issue of THE THEATRE. If you will read it from beginning to end, you will learn something, and be better for it. Nearly every line was contributed

by that kind of friend whose jaws don't fall when you ask him a favor. I wish we could all dance around a big Christmas tree together. What a splendid Santa Claus dear old John Gilbert would make! William Winter could read us a poem before the yule-log fire, and Mr. Kelley could accompany it by delicious piano improvization. Then let the wind whistle outside! we'd simply snap our fingers within! Young McLellan, whose pen is spharper than a printer's bill, could furnish us with startling adjective force, which might be merry; but Mr. Spillane with his solemn argument would put even to route any Frenchy interview which Mr. Rosenthal might attempt. Mr. Morton would however soften us by telling in gentle voice what Christmas ought to be-at least what it is in England. I have no doubt that Little Emly, whom I have never known, would reach the heart of earnest John Ernest McCann, who has a heart among hearts, and Valentine Hall would entertain us all by a Dixey fling, or send us to sleep by reading from his charming brochure, his "History of England," which is published just in time. As for me? Well, gentlemen—and here's to you, Miss Em❜ly!—may the plums in the pudding stand up against me if I ever forget what you are—who you are-and forgive this timely tear-you-you know you are!

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WHAT is the dividing line between "business" and artistic dignity? Should Campanini accept a fee for singing at Mr. Vanderbilt's" reception," or should he stand upon his dignity as a gentleman and claim. equality with any and all of those present? This of't-debated question in etiquette is made pertinent and interesting by a recent episode of so-called "fashionable life." Α certain lady whose husband is the headpartner in a Broadway "dry-goods" store, contemplated a "reception" of colossal dimensions. She thought it necessary to have the "lion" of the hour at her service, and fancied that noble animal was represented in the small person of Master Josef Hofmann. The lady next drew out a check

for one thousand dollars, payable to Mr. Henry Abbey, and in consideration of the same, demanded Master Hofmann's services at her "reception." Her astonishment was only equaled by her mortification when, the next morning, she found her check returned with a note from Mr. Abbey stating that he paid Hofmann one thousand dollars for every piano-forte recital, and expected to clear a like sum for himself and his partners. Further than this, he added, that he was very careful about the health and happiness of his "prodigy," and doubted the wisdom of submitting him to such temptations as a dry-good's merchant's "reception" offered. Mrs. (I was very nearly giving the estimable lady "away") waxed wroth and indignant at Mr. Abbey's impertinence, and even ventured to cast doubts on the accuracy of that George Washington among managers. Unaware of the fact that Mr. Abbey has a little hatchet and a private cherry-tree all to himself, Mrs. said, she didn't believe that he paid Hofmann more than a hundred dollars a night, and, that anyhow, he ought to have felt himself honored in finding his “prodigy" in her drawing-rooms. Mr. Abbey looked at the matter in a different light, and little Hofmann did not grace the "reception," which proved to be somewhat of a disappointment, as all the guests had been notified of the boy's appearance. being the wife of a succeesful dry-goods merchant, naturally supposed that a check if sufficiently large, would produce anything, but she reckoned without her host, and her guests who came to hear little Josef did very much the same thing.

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Mrs.

ARTISTES even of the rank of Patti and Nilsson have been known to accept fees for singing at private parties, but it is a practice which to the honor of art is dying out. The vocalist or actor who respects himself will assume that he is invited to a private house for the same reasons that other gentlemen are. He may try to make himself agreeable, as everybody else is supposed to do, and if his powers are greater than those

of the majority, so much the better for the company. Mr. Irving, to his infinite credit, has always set his face against "professional appearances in private circles, while Mr. Booth would take it as a serious personal affront to be asked to a party where he was expected to read, write, or do anything more than an ordinary gentleman should. The days of "art patronage " have expired. The poet or painter looks to the world for his reward and not to the favor of rank or riches. Old-time authors, while they always dedicated their works to some superior person of their generation, took care to ask a kind word from the gentle reader," and it is the latter who made what fortune the author realized, and perpetuated his fame.

If the reporters of a certain morning paper are faithful scribes, the play-folk of New York are among the hardest workers of the day. Quite recently, this journal published columns of "interviews" with popular artistes, all of whom complained of the severity of their labors, and their estrangement from the charms of domestic life. One veteran actor who is old enough to know very much better, complains that he lives six miles from his theatre, and when he rehearses and acts on the same day, has to travel twenty-four miles. This is very sad, of course, but why does he live six miles from the theatre; why not four or two, or even a block? I know another veteran actor of a rival theatre, who last season never appeared on the stage, and only visited his manager once a week-on salary day. Now THE THEATRE is about the best literary friend the actor has, but it cannot endorse this absurd flummery about "hardworking players." They don't exist in New York, at least.

Mr. Abbey has a company of twenty people, and only seven of them are engaged in the nightly programme.

Is

it hard work for the other seventeen to "walk about and draw their salaries? When a play has a successful" run " in New York, and includes every member of the company in the cast, it means at the most and worst, three hours and a half of labor, including the time spent in the dressingroom. Is this hard work? Let the New York actor who complains of hard work visit THE THEATRE, and try his "'prentice hand" on a Christmas number, and for the first time in his life, he will realize the fact that he is born.

NOTHING shows the ever-increasing prosperity of the musical and dramatic profes

sions, than these Christmas holidays, into which we are entering. Not many years ago the ordinary singer and actor looked forward to Christmas and all other holidays as seasons of exceptional prosperity. Work would be harder than usual, but then the rewards would be greater. Managers who let their theatres out to combinations," gave lower percentages at Christmas time than at any other period of the year, and frequently reserved those dates for themselves as something especially desirable and profitable. To-day, all this is changed, and one hears or reads daily of this or that company laying off" during the Christmas season. Union Square and other professional resorts are as crowded as in mid-summer, but the majority of the promenaders are players who have been "on the road since September, and now with plethoric purses are "resting until the New Year begins." A certain manager, who, a few years ago,.grudged even the Sunday holidays to their company, this season, not only lays off Christmas week, paying full salaries to everybody, but invites most of his company to his country-seat in Vermont, where Christmas turkeys and appropriate pies and puddings are to be devoured in the princely fashion, what foolish people would call a "a by-gone age." All this is very gratifying, and ought to leave the double effect of increasing the Actor's Fund balance, and diminishing the calls upon it.

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DESPITE the best possible intentions on the part of Miss Sara Jewett's friends, all the public efforts made on her behalf, seem doomed to failure. The benefit given to her in Philadelphia barely covered the expenses, and that which took place at the Union Square Theatre, last Thursday, has been unworthy the reputation of the actress, or the good intentions of the artistes and the public. Mr. J. M. Hill, who was mainly responsible for the affair, of course did everything that a kindly and energetic nature could, but the circumstances hampered him. The bill he felt compelled to offer the public was unattractive to the last degree. The feature of it was, Miss Estelle Clayton, as an author and actress, and the apparent intention of the performance was, to advertise that young lady's versatility, and not Miss Jewett's infirmities and misfortunes. Hence, the whole affair miscarried, and before Miss Jewett is placed in a helpful and satisfactory position, it is probable that the public will find her an exhausted subject of interest.

Trophonius.

AUGUSTIN DALY.

AUGUSTIN DALY was born in Plymouth, North Carolina, July 20, 1838, but his childhood and youth were passed in New York. He began his public career in 1860, at the age of twenty-two, as an editorial writer and dramatic critic for the New York Sunday Courier, but very soon, without relinquishing journalism, he first prominent adventure

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made his as a play

wright. On December 8, 1862, his adaptation of Mosenthal's "Deborah," entitled Leah," was brought forward at the Boston Museum, with Miss Kate Bateman as the Jewess. It made a remarkable hit, and in January, 1863, Miss Bateman brought it out at Niblo's Theatre, New York, where it had a run of nine weeks. This piece has kept the stage ever since, and it is still acted. In 1864 an adaptation of "La Papillonne," made by Mr. Daly and Frank Wood (who died shortly afterward), was produced at Laura Keene's Theatre, where it had a run of four weeks. It is exceedingly comical and amusing. Mr. John Wood and Mr. Frank Drew enacted the chief parts. In the same year (1864) Mr. Daly adapted three plays, entitled 'Leslie's Wedding,” "Judith," and "The Sorceress." Mme. Methua-Scheller, now dead, produced the first of these at the Winter Garden (on the west side of Broadway, opposite to the end of Bond Street, where it was acted for two weeks; and Avonia Jones, also now dead, produced the other two at the same theatre. "The Sorceress" was a grim and weird play, but strongly effective. 1864, Mr. Daly added to his other occupations that of dramatic critic of the New York Express, now the Mail and Express. Two years later (in 1866), he brought out a play on the subject of Charles Reade's novel Griffith Gaunt." This was produced at the New York Theatre, on the site of what is now called "The Old London Street, and Miss Rose Eytinge played the wife of the jealous husband. It ran for seven weeks. In that year Mr. Daly became the dramatic critic of the New York

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In

Sun. In 1867 he produced his first entirely original play, a piece called "Under the Gaslight," which made an instant hit, and had an immediate run of thirteen weeks in New York (at the New York Theatre), four weeks in Boston, seven weeks in Philadelphia, and five weeks in San Francisco. It has since been acted all over the country and in Europe. Its chief stage-effect-the passing of a train of cars and the rescue of a woman, whose enemies had bound her and laid her upon the track-was afterward borrowed by Dion Boucicault in his drama called "After Dark:" but Mr. Daly made good in a court of law his claim to the invention of that expedient. In 1867 Mr. Daly became dramatic critic for the New York Daily Times, and also for the New York Weekly Citizen, and thus he was a reviewer of the acted dama for five separate and distinct newspapers in New York at one and the same time. These positions he one by one resigned, toward the close of that year. In 1867 he made a play on the basis of Henry Ward Beecher's novel of "Norwood," co-laboring with Mr. Joseph Howard, Jr., and this piece had a run of four weeks. In 1868 he produced at the New York Theatre his dramatic version of "The Pickwick Papers," and an original drama entitled "A Flash of Lightning." On August 16, 1869 he began management, opening his first Fifth Avenue Theatre, situated in Twenty-fourth Street, on the site of the present Madison Square Theatre.

This house had once before, for a brief period, been styled the Fifth Avenue Theatre, when conducted by Mr. Thaddeus Glover, a journalist and experimental manager, now dead. Mr. Daly opened it with T. W. Robertson's comedy of “Play," subsequently produced Olive Logan's "Surf," and presently inaugurated the reign of such French pieces as · FrouFrou" and "Fernande."

Twenty days after the Fifth Avenue Theatre, in Twenty-fourth Street, was burned down (January 1, 1873), Mr. Daly opened his new Fifth Avenue Theatre, in Broadway (January, 21, 1873), with an ad

dress by John Brougham, and with Clara Morris in "Alixe." This house was kept open until June 28, 1873, the chief production effected there after "Alixe," being Madelein Morel," presented on May 20. Mr. Daly retained this theatre till April, 1874, conducting it under the name of the Broadway Theatre; but, meanwhile, he obtained a lease of the St. James Theatre, in Twenty-eighth Street, and, having altered and refitted it, he there reopened the Fifth Avenue Theatre, on December 3, 1873, with an address by Oliver Wendell Holmes, and with Mr. James Alberry's comedy of "Fortune." Coincident with other labors, he managed the Grand Opera House for two seasons, beginning on August 26, 1872. There he produced Le Roi Carotte," Round the Clock," "The Cataract of the Ganges," "Roughing It," "Sardou," "Uncle Sam," “Under the Gaslight," and "A Round of Pleasure," and he also presented Mr. Fechter there, in "Monte Cristo," "The Corsican Brothers," and "Ruy Blas." The Fifth Avenue Theatre, in Twenty-eighth Street, remained under the management of Mr. Daly until the spring of 1877, when he retired from it, and, temporarily, from active theatrical life. On September 17, 1879, however, he reappeared in the field, and opened Daly's Theatre, where it now stands, at Broadway and Thirtieth Street, with "Love's Young Dream" and Newport." That theatre he has conducted ever since, with constantly increasing good-fortune and repute. The public of New York owes to Mr. Daly many opportunities of pleasure and benefit. His dramatic companies have always been strong, and they have from time to time included some of the brightest names in the theatrical world. It was he who introduced Clara Morris, Agnes Ethel, Fanny Davenport, and Sara Jewett. E. L. Davenport,

in tragedy, and Charles Matthews, in comedy, have acted under his banner. He has effected Shakespearean revivals, with Mrs. Scott Siddons, Miss Davenport, Miss Ada Dyas, and Miss Carlotta Leclercq in conspicuous characters. He brought forward "Love's Labours Lost,"

on February 21, 1874, with Charles Fisher as Armado, Mr. Davidge as Holofernes, Ada Dyas as the Princess, Miss Mortimer as Jacquenella, and the late Frank Hardenburgh as Boget. He introduced "Yorick "to the American stage, December 6, 1874. He presesented the first of Mr. Bronson Howard's comedies, "Saratoga," and has brought forward other works from the same conscientious, brilliant, wisely-governed pen. He has revived, in excellent style, many of the old comedies, such as The Belle's Stratagem," "The Inconstant," "A Bold Stroke for a Husband," "The School for Scandal," and "She Stoops to Conquer;" and he has himself contributed many original pieces to the American Drama, besides opening for our stage the rich field of German farcical comedy. It is to Mr. Daly's sagacity and energy that ourstage is indebted for the bright career and auspicious professional reputation of Miss Ada Rehan. Affairs in the local theatrical world have been shaping themselves anew for some time past, and Daly's Theatre is now the leading comedy theatre of America

This brief chronicle of the labors and achievements of Augustin Daly may prompt reflection upon the broad field of industry over which his faculties have ranged; the sagacious foresight and intrepid spirit with which he has shaped and conducted his career; the judicious skill with which, while often yielding to the capricious demands of public taste, he has contrived to. awaken and satisfy its better impulses and higher tendencies; and that "staying power," in him,-that power of knowing what you want to accomplish, and knowing how to accomplish it, and bending all your energies, quietly, resolutely, and patiently toward its accomplishment,-which is the secret of all success in the conduct of life. William Winter.

Answer to Correspondent.-Ninon de Lenclos, celebrated equally for her wit and beauty, died at the age of ninety, on October 17, 1706. The eventful story of her life has been partly used for dramatic purposes.