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A DRAMATIC CRITIC perhaps it is, therefore, well that I should tack on to its retrospective magniloquence the assertion — obviously superfluous and, in the absence of challenge, a bit suspicious — that I meant to be fair and just, to the extent of my ability. [ 6 ]
II Spectacle, Farce, Melodrama, and Minstrelsy Fifty Years Ago A PART of my stock in trade, of course, was my theatrical experi- ence, which dated from my seeing the Viennese children at the Boston Museum when I was eight years of age. Then followed, at great yawning, heart-straining intervals of time, the fairy plays which were " features " at that theatre for a se- ries of years. I recall my ecstasy in witnessing these dramas, in order that my contemporaries may reglow and rethrill with me over the reminiscence. It is of no use to tell me, to tell any of us, that children enjoy themselves as much at the theatrical shows of to-day as we enjoyed our- selves at the plays of circa 1850. And I [ 7 ]
Page 1 and 2: UNIVERSITY OF CA RIVERSIDE, LIBRARY
Page 8 and 9: Bit
Page 10 and 11: COPYRIGHT, 1902, BY HENRY AUSTIN CL
Page 13: NOTE The reader is informed of what
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: INTRODUCTION My equipment for my ta
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 and 68: DRAMATIC Q_UINQ.UENNIUM ton : first
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
Page 117 and 118:
E. A. SOTHERN, SR effective for mir
Page 119 and 120:
E. A. SOTHERN, SR. thrown completel
Page 121 and 122:
E. A. SOTHERN, SR traordinary were
Page 123 and 124:
E. A. SOTHERN, SR. Tragedian, a dra
Page 125 and 126:
E. A. SOTHERN, SR sought or seeking
Page 127 and 128:
THE ISOLATION OF ACTORS plish. Behi
Page 129 and 130:
THE ISOLATION OF ACTORS fictive mat
Page 131 and 132:
THE ISOLATION OF ACTORS rary life w
Page 133 and 134:
DURING XIV Charles Fechter the seas
Page 135 and 136:
CHARLES FECHTER holding the lease o
Page 137 and 138:
CHARLES FECHTER psychic scheme, but
Page 139 and 140:
CHARLES FECHTER man, treasure, pabu
Page 141 and 142:
CHARLES FECHTER clouds, where Shake
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CHARLES FECHTER and in his final dy
Page 145 and 146:
CHARLES FECHTER Glavis, there was a
Page 147 and 148:
CHARLES FECHTER on lines already in
Page 149 and 150:
CHARLES FECHTER internal discords,
Page 151 and 152:
THERE is XV Edwin Booth no occasion
Page 155 and 156:
EDWIN BOOTH A famous nomen I called
Page 157 and 158:
EDWIN BOOTH creations, because of t
Page 159 and 160:
EDWIN BOOTH ated with his name. Tha
Page 161 and 162:
EDWIN BOOTH gance and distinction o
Page 163 and 164:
EDWIN BOOTH thus to distinguish the
Page 167 and 168:
TOMMASO SALVINI combination tolerab
Page 169 and 170:
TOMMASO SALVINI the past fifty year
Page 171 and 172:
TOMMASO SALVINI ing Shakespeare and
Page 173 and 174:
TOMMASO SALVINI of rare delicacy be
Page 175 and 176:
TOMMASO SALVINI interpretation of K
Page 177 and 178:
TOMMASO SALVINI Every phase of the
Page 179 and 180:
TOMMASO SALVINI and sobbing; strong
Page 181 and 182:
TOMMASO SALVINI fresh and unconvent
Page 183 and 184:
XVII Adelaide Neilson NO player in
Page 187 and 188:
ADELAIDE NEILSON failing health, sh
Page 189 and 190:
ADELAIDE NEILSON to be much remembe
Page 191 and 192:
ADELAIDE NEILSON ing interview with
Page 193 and 194:
ADELAIDE NEILSON " False to his bed
Page 195 and 196:
ADELAIDE NEILSON remember the beaut
Page 197 and 198:
ADELAIDE NEILSON belongs, and at th
Page 199 and 200:
XVIII Memorable Experiences of Sing
Page 201 and 202:
MEMORABLE EXPERIENCES carded, and t
Page 203 and 204:
MEMORABLE EXPERIENCES mon touch as
Page 205 and 206:
MEMORABLE EXPERIENCES worked less s
Page 207 and 208:
MEMORABLE EXPERIENCES under the nam
Page 209 and 210:
MEMORABLE EXPERIENCES George P. Lat
Page 211 and 212:
XIX An American Theatre Privately E
Page 213 and 214:
AN ENDOWED THEATRE and let the expe
Page 215 and 216:
AN ENDOWED THEATRE for histrionic s
Page 217 and 218:
AN ENDOWED THEATRE direction. I saw
Page 219 and 220:
AN ENDOWED THEATRE will not always
Page 223 and 224:
HENRY IRVING against any lively dis
Page 225 and 226:
HENRY IRVING greatest actor of his
Page 227 and 228:
HENRY IRVING at least to reflect an
Page 229 and 230:
HENRY IRVING have said that he hope
Page 231 and 232:
HENRY IRVING ficial and unessential
Page 233 and 234:
HENRY IRVING the subject of wonder
Page 235 and 236:
HENRY IRVING face is found to be si
Page 237 and 238:
HENRY IRVING grip which he at once
Page 239 and 240:
HENRY IRVING on the stage to the la
Page 241 and 242:
HENRY IRVING superstition, which it
Page 243 and 244:
HENRY IRVING movement of the hands
Page 245 and 246:
HENRY IRVING faculty which is like
Page 247 and 248:
HENRY IRVING that madness with whic
Page 249 and 250:
HENRY IRVING and method to which I
Page 251 and 252:
HENRY IRVING it is the source of th
Page 253 and 254:
HENRY IRVING with beautiful softnes
Page 255 and 256:
HENRY IRVING regal action in mounti
Page 257 and 258:
HENRY IRVING boon to the stage of E
Page 259 and 260:
HENRY IRVING tual with the spectato
Page 261 and 262:
HENRY IRVING courage. Nearly all th
Page 263 and 264:
HENRY IRVING own powers is the chie
Page 265:
INDEX
Page 268 and 269:
Enchanted Beauty, The, 9. Enchanted
Page 270:
ElectrotyPed and printed by H. O. H
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