Life, 1894-01-04 · page 12 of 16
Life — January 4, 1894 — page 12: what you’re looking at
What you’re looking at
# Analysis of Life Magazine Drama Section This is a theatrical criticism column titled "Retrospect and Prospect," reviewing the dramatic season following the 1893 World's Columbian Exposition in Chicago. The author laments that despite the World's Fair's promise, it failed to stimulate American drama—contributing only spectacles like "America" and reviving Buffalo Bill's Wild West Show. He credits the year's few highlights to foreign talent: the Italian actress Duse, opera at the Metropolitan, and visiting performers Irving, Terry, Coquelin, and Hading. The column criticizes American playwrights for producing nothing noteworthy while foreign writers flooded the market with poor adaptations, particularly of Dumas's works. The death of Edwin Booth is identified as the year's greatest theatrical loss. Looking forward, the author expresses pessimism: limited promising productions ahead, economic depression keeping audiences away, and—most importantly—a perceived decline in popular taste itself. The underlying concern is cultural degradation rather than temporary economic hardship.
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Machine-transcribed from the original scan — historical spelling and the odd misread are preserved.
RETROSPECT AND PROSPECT. I N most of the misfortunes of life the victim is likely to regret that his foresight was not as good as his hind- sight. In the present situa- tion of affairs theatrical, the observer is inclined to wish that his foresight was a good deal better than his hindsight— which, unfortunately, it is not. There are few rainbows of prom- ise in the dramatic horizon. Looking back, we have some things for which to be thankful. This although the inspira- ion to new enterprise which was to have been expected from the holding of the World's Fair resulted more in the importation of foreign talent than in any stimulation of domestic art. In fact, so far as being a factor in dramatic matters was concerned, the Fair might as well never have been held. The spectacle, “ America,” and a renewed life to Buffalo Bill's Wild West Show were its only contributions to contemporary dramatic art. The first appearance of Duse in America, the unusually brilliant season of opera begun at the Metropolitan, the return of Irving, Terry, Coquelin and Hading have been the noteworthy incidents to the credit of the year. Of plays, there have been no notable new productions. The American dramatist distinguished himself last year mostly by doing nothing, or not doing anything noteworthy. Foreign writers have distinguished themselves by trying to corrupt us with a deluge of bad plays, beginning with the various adaptations of Dumas's “ Demi-Monde” and ending with “ A Woman of No Importance.” The greatest misfortune of the year has been the death of Edwin Booth, leaving no successor to his mantle and none in sight, unless Mr. Walker White- side shall fulfill the promise of the work he did in his short engagement here last spring. The coming year promises little that is great or encourag- ing. We have a chance of seeing Mounet-Sully, and ahead of us a long season of those sterling artists, “ The Bostonians,” who are to give us two new American operas. Beyond this there is absolutely nothing in view that will make the year memorable. Naturally, the amusement- caterers have to take into account the business depression that keeps people from their doors, This in itself is enough to account for the present dull out-look, but there underlies the situation another and more serious reason for the absence of hope. It is the unquestionable debasement of the popu- lar taste,