Treasure Trove

“‘TREASURE TROVE’ was produced for the first time at the Olympic Theatre on May 21st to a crowded house. Repeated during the week to excellent business, and is announced to be continued until further notice. It is a great success, and should enjoy a lengthy run. It has been placed upon the stage in a praiseworthy manner; in fact, it is the best thing Mr. Grover has done during his management. The scenic effects, which are very fine, reflect the highest credit upon the artists, Messrs. Strong, Heald and Hayes. The march of the convicts to supper, in the prologue, is effectively done. The view of the grounds of Union Hotel, Saratoga, with the Opera House in the distance, is very life-like. The scene represents the band playing in the centre of the grounds, while ladies, gentlemen and children are walking, playing and sitting upon the corridors of the hotel. The setting in of night and the illuminating of the grounds and the Opera House is well done. This scene affords several members of the company to indulge in a little sport, such as telling stories and a free fight, in which the Yankee whips the ‘Hinglishman.’ Scene third in act first—representing the ‘Fall of the Canagaga’—for scenic and mechanical effects is very good; when the curtain fell on this scene the applause was so great that the curtain was raised on it each evening. The interior view of the ‘Stock Exchange,’ which is as truthfully portrayed as could be on the stage, is a very exciting scene. The views of the Herald building and Loew bridge are also faithfully represented on canvas.  In this scene six newsboys appear and execute a clog dance. The play was well cast, and each and every one did their best to secure the success of the piece. [specific mention of cast and their roles] Several writers for the press in this city, in noticing this piece, have pitched into it most unmercifully, finding fault with everything, being unable to see the least merit in it whatever. They blame the manager for offering his patrons ‘such a mess of stuff,’ and find fault because a horse has been introduced on the stage, also the boys in a clog dance. How absurd it is for the ‘criticks’ to attack a manager in such a manner. We should like to see the manager that would conduct his theatre in any other manner than that which should prove the most profitable. Writers are constantly talking about the ‘decline of the drama,’ and the superseding of the legitimate by the sensational. Managers have found to their sorrow that if they depend entirely upon the legitimate they will starve to death. Who would have supposed that Wallack’s Theatre—‘the home of the refined’ and the ‘temple of the legitimate drama’—would have furnished its patrons with a piece like the ‘Flying Scud,’ depending for its success upon a bevy of half stripped ballet girls, a horse, and a fair scene, wherein is introduced an organ grinder with a live monkey, a gymnast, five minstrel performers, a Punch and Judy show, and many others too numerous to mention! Wallack produced several of the finest old English comedies that were ever written to almost empty benches; and seeing by the success of the ‘Black Crook’ what was most suited to the public taste, he produced this piece, and the house has been crowded every night as it had not been for many months. . . .”