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A DRAMATIC CRITIC regularly established troupes in the whole land, and of these this city had three of the best, placed at the Boston Theatre, the Globe, and the Boston Museum. The last of these houses was in a distinctive and peculiar sense the theatre of the capital of Massachusetts : partly because of its age and unbroken record as a place of amuse- ment ; even more because of the steady merit of its performances and the celebrity of many of its performers. At the outset, as every Bostonian knows, this establish- ment was conducted on the plan of Bar- num's of New York. The word " theatre " was not visible on any of its bills, pro- grammes, or advertisements. It was a mu- seum, and justified its title by an edifying exhibit of stuffed animals, bones, mum- mies, minerals, wax figures, and other cu- rios ; making, through these " branches of learning " and its long-continued obeisance to Puritan tradition — after that tradition had ceased from the Municipal Ordinances [ 50 ]
DRAMATIC CtUINQ^UENNIUM — by closing its doors on Saturday nights, an eloquent appeal to the patronage of so- ber persons, affected with scruples against the godless theatre. The appeal was as successful as it was shrewd. To this day, I doubt not, there are citizens of Boston who patronize no other place of theatrical amusement than its Museum, though the stuffed beasts and the observance of the eve of the Lord's Day are things of the past. But, howsoever disguised or preferred by the children of the Puritans, the Museum was a theatre, if ever there was one. Those who can recall its earliest days will find clinging to their memories swarms of names, generally well mixed up as to dates and sequences : Mr. Tom Comer, leader of the orchestra, accomplished musician and genial gentleman ; W. H. Smith, an old- time actor and manager of stately st^'le ; Mrs. Thoman, a charming performer of light comedy ; Mr. Finn, droll son of a much droller father ; the graceful and [ 51 ]
- 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 and 66: VII The Great Dramatic QyiNQiJENNiU
- Page 67: DRAMATIC Q_UINQ.UENNIUM ton : first
- 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
- Page 117 and 118: E. A. SOTHERN, SR effective for mir
A DRAMATIC CRITIC<br />
regularly established troupes in the whole<br />
land, and of these this city had three of<br />
the best, placed at the Boston Theatre, the<br />
Globe, and the Boston Museum. The last<br />
of these houses was in a distinctive and<br />
peculiar sense the theatre of the capital of<br />
Massachusetts : partly because of its age<br />
and unbroken record as a place of amuse-<br />
ment ; even more because of the steady<br />
merit of its performances and the celebrity<br />
of many of its performers. At the outset,<br />
as every Bostonian knows, this establish-<br />
ment was conducted on the plan of Bar-<br />
num's of New York. The word " theatre "<br />
was not visible on any of its bills, pro-<br />
grammes, or advertisements. It was a mu-<br />
seum, and justified its title by an edifying<br />
exhibit of stuffed animals, bones, mum-<br />
mies, minerals, wax figures, and other cu-<br />
rios ; making, through these " branches of<br />
learning " and its long-continued obeisance<br />
to Puritan tradition — after that tradition<br />
had ceased from the Municipal Ordinances<br />
[ 50 ]