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A DRAMATIC CRITIC in opera ; Edwin Booth was approaching the zenith of his fame and power ; Jeffer- son's Rip Van Winkle was causing itself to be accepted as the highest achievement of American comedy ; Sothern's unique art, especially in Lord Dundreary, its most original expression, had prevailed over the two great English-speaking nations, but was still as fresh as the dew of morning ; Madame Janauschek's superior ability was beginning to be appreciated ; Adelaide Neilson, the incomparable, entered upon her American career ; W. S. Gilbert's peculiar gifts as a dramatist were in pro- cess of acceptance on this side of the Atlantic ; and our country, through Mr. Bronson Howard and his Saratoga, was making a new essay of originality in the creation of a play of contemporaneous " society." This was the period, also, of a great revival of dramatic versions of Dick- ens's novels, in the best of which, Little Em'ly, there was much good acting in Bos- [ 48 ]
DRAMATIC Q_UINQ.UENNIUM ton : first at Selwyn's Theatre, by Mr. Robinson as Peggotty, Mr. Le Moyne as Uriah Heep, Mr. Pearson as Ham Peg- gotty, Mrs. Barry as Rosa Dartle, and Miss Mary Cary as Emily ; and later, at another house, when John T. Raymond gave his delicious interpretation of Mi- cawber. Also, it may be stated in paren- thesis, midway of these years, to wit in 1872, occurred in Boston the Peace Jubi- lee, with its huge chorus and orchestra, its foreign bands of instrumentalists, and its presentation of Madame Peschka-Leut- ner ; the necessary machinery having been set in motion by Patrick Sarsfield Gilmore, most persistent and tireless of conductors and entrepreneurs. It was at "about this time" — the fa- miliar quotation from the Old Farmer's Almanac is apropos — that that breaking up of stock companies, which had previ- ously begun, took on a precipitate speed. There were still, however, a dozen or so [ 49 ]
- Page 16 and 17: CONTENTS XVII. ADELAIDE NEILSON 1 5
- Page 19 and 20: REMINISCENCES OF A DRAMATIC CRITIC
- Page 21 and 22: INTRODUCTION and fascinating folk,
- Page 23 and 24: INTRODUCTION My equipment for my ta
- Page 25 and 26: II Spectacle, Farce, Melodrama, and
- Page 27 and 28: THE STAGE FIFTY YEARS AGO But what
- Page 29 and 30: THE STAGE FIFTY YEARS AGO men had c
- Page 31 and 32: THE STAGE FIFTY YEARS AGO with two
- Page 33 and 34: THE STAGE FIFTY YEARS AGO of the tr
- Page 35 and 36: THE STAGE FIFTY YEARS AGO a man of
- Page 37 and 38: THE STAGE FIFTY YEARS AGO bill of f
- Page 39 and 40: Ill The Worth and Impotence of Free
- Page 41 and 42: IMPOTENCE OF FREE CRITICISM hinting
- Page 43 and 44: IMPOTENCE OF FREE CRITICISM applaud
- Page 45 and 46: I IV Some Early Experiences and Mis
- Page 47 and 48: EXPERIENCES AND MISTAKES quent appl
- Page 49 and 50: EXPERIENCES AND MISTAKES outspoken
- Page 51 and 52: V Selwyn's Theatre and the Robert-
- Page 53 and 54: SELWYN'S THEATRE Sargent Curtis ; a
- Page 55 and 56: SELWYN'S THEATRE Colorado and the t
- Page 57 and 58: SELWYN'S THEATRE that of the life o
- Page 59 and 60: VI The Ephemeral Drama and the Endu
- Page 61 and 62: THE EPHEMERAL DRAMA culiar to their
- Page 63 and 64: THE EPHEMERAL DRAMA have no essenti
- Page 65: VII The Great Dramatic QyiNQiJENNiU
- Page 69 and 70: DRAMATIC CtUINQ^UENNIUM — by clos
- Page 71 and 72: VIII William Warren, Comedian BOSTO
- Page 73 and 74: WILLIAM WARREN presented in the dra
- Page 75 and 76: WILLIAM WARREN Apropos of the large
- Page 77 and 78: WILLIAM WARREN must submit to a rec
- Page 79 and 80: WILLIAM WARREN voiced organ. There
- Page 81 and 82: WILLIAM WARREN depth and suggestive
- Page 83 and 84: WILLIAM WARREN through a vast galle
- Page 85 and 86: WILLIAM WARREN Senator from Massach
- Page 87 and 88: TRAINING FOR THE STAGE any other th
- Page 89 and 90: TRAINING FOR THE STAGE actors, and
- Page 91 and 92: TRAINING FOR THE STAGE not brought
- Page 93 and 94: TRAINING FOR THE STAGE rade;" Mr. M
- Page 95 and 96: TOOLE AND MATHEWS Mrs. Rousby, who
- Page 97 and 98: TOOLE AND MATHEWS rapidity against
- Page 99 and 100: TOOLE AND MATHEWS finesse, and dext
- Page 103 and 104: CHARLOTTE CUSHMAN figure and homely
- Page 105 and 106: CHARLOTTE CUSHMAN was great, the ac
- Page 107 and 108: CHARLOTTE CUSHMAN act, has been dis
- Page 109 and 110: CHARLOTTE CUSHMAN be so pronounced
- Page 111 and 112: CHARLOTTE CUSHMAN mendations " and
- Page 113 and 114: THE XII E. A. SOTHERN, Sr. most not
- Page 115 and 116: E. A. SOTHERN, SR. inverted as in a
DRAMATIC Q_UINQ.UENNIUM<br />
ton : first at Selwyn's Theatre, by Mr.<br />
Robinson as Peggotty, Mr. Le Moyne as<br />
Uriah Heep, Mr. Pearson as Ham Peg-<br />
gotty, Mrs. Barry as Rosa Dartle, and<br />
Miss Mary Cary as Emily ; and later, at<br />
another house, when John T. Raymond<br />
gave his delicious interpretation of Mi-<br />
cawber. Also, it may be stated in paren-<br />
thesis, midway of these years, to wit in<br />
1872, occurred in Boston the Peace Jubi-<br />
lee, with its huge chorus and orchestra,<br />
its foreign bands of instrumentalists, and<br />
its presentation of Madame Peschka-Leut-<br />
ner ;<br />
the necessary machinery having been<br />
set in motion by Patrick Sarsfield Gilmore,<br />
most persistent and tireless of conductors<br />
and entrepreneurs.<br />
It was at "about this time" — the fa-<br />
miliar quotation from the Old Farmer's<br />
Almanac is apropos — that that breaking<br />
up of stock companies, which had previ-<br />
ously begun, took on a precipitate speed.<br />
There were still, however, a dozen or so<br />
[ 49 ]
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