Articles on the problematic dominance of opera bouffe, burlesque, and pantomime

“With the withdrawal of Mr. Edwin Booth from active duty at his superb theatre, the close of the Grand Opera House and the surrender of Wallack’s to the inanities of English pantomime, the regular dramatic season may be said to have terminated. All things considered, its close is by no means a matter of regret. The three above-named establishments apparently endeavored to preserve their respectability and dignity unimpaired to the end; but the events of many months past at most of the other houses have been of so unworthy a character, and so injurious to every dramatic interest in which the better part of the public is concerned, that if the theatrical operations of the year could now be everywhere suspended in fact, as, according to conventional fiction, they are in name, we should have hearty reason to congratulate managers, actors, and the community alike. This, however, is an irregular and irresponsible period, when our leading theatres claim the right to launch forth enterprises of any degree of folly or feebleness, without being held to strict account for their actions. Without recognizing such rights, as a general rule, we are willing enough, just now, to see them exercised to the freest, the wildest and the most irrational extent, in the hope that even the grosser appetites of the populace may become satiated with excess, and that those who have in charge the provision of public amusements may be speedily awakened to the necessity of a radical change in the disposition of their affairs for the coming year. The blight of burlesque and pantomime, although now resting pretty heavily upon us, has not, in the estimation of many managers, run its complete course. If this be really so, let us by all means have the whole of it at once, and look to the earliest possible future for a respite from its ravages. We believe there is no indisposition to encourage it at any establishment in town, excepting Mr. Booth’s. He, with an obstinacy which, we are told, excites the derision of his colleagues, prefers rather to attain prosperity by measured and judicious steps than to rush madly from his legitimate sphere in pursuit of brief and casual successes which, however shining for the moment, would inevitably cast a dangerous shadow over his subsequent prospects, and imperil the credit of his career. But no considerations of this sort can interfere with the spread and sweep of burlesque in other directions. That active theatrical picuore, Mr. Henderson, may stretch out his tentacles wherever he chooses, and fasten himself, with his companions, upon every play-house we possess, excepting Mr. Booth’s, without objection or opposition on the part of proprietors. And so, if we must suffer the infliction yet a while, our first wish is that at whatever cost of immediate discomfort, it may be so arranged that the agony shall all be over before another regular season opens upon us. Exhaust the field, gentlemen, as expeditiously as you can. When that is done, we will help you to fertilize it anew, and on a healthier system.

“That performances of a light and volatile class should be introduced in fair proportion among the entertainments of a large city is naturally and properly to be expected. Against burlesques and pantomimes, as we sometimes see them, and as we hope to see them again, there is not a reasonable word to be said. Some of our best artists, indeed, have frequently devoted their talents to extravaganza, with results which would make us seriously reject the total exclusion of such illustrations from the stage. Mr. Jefferson’s burlesque, for example, exhibits as close a study of nature and as keen an appreciation of artistic principles as his most exquisite pictures of refined wit or tender pathos. Mr. Fox’s pantomime, though not always free from buffoonery, is pervaded by a rich and genuine humor which justifies it in holding a permanent place in the regard of the community. And these gentlemen, among Americans, are not alone. It is the English style of stage caricature that we oppose as destructive to popular taste, and mischievous in its influence upon the entire drama of this country. What is English burlesque? What attribute of merit has it displayed? Who are its representatives here? To speak of its literary qualities would be like repeating the famous chapter upon snakes in Iceland. Cheap rhymes, pre-Adamite puns, impudent distortion of grace political and social subjects are the conspicuous characteristics of its text. Uncouth and immodest imitations of negro dances by young women, and coarse reproductions of the London concert saloon ditties are the only reliefs to its dreary dullness. These, and absolutely nothing more, constitute British burlesque. And what are we to say of the instruments by means of which the article is forced upon us? Nothing, except that, low as the condition of the English stage now is in every respect, the deepest depths seem to have been sounded to produce the combinations of stupidity and incompetency which have been let loose upon these shores. Let us take a few examples, at random. Miss Lydia Thompson, even in her prime, fifteen years ago, at the St. James’ Theatre, was at best a pretty imitator—only, in those days she chose better subjects for imitation than negro minstrels and French lorettes. She remains at this day, artistically speaking, precisely what she was in 1854. Miss Markham, after a vain attempt a year or so ago to fulfill the simplest dramatic labors of the Queen’s Theatre, dropped into the groove of broad burlesque, from which she has never since emerged. Miss Holt, during her three of four years’ experience, has never undertaken anything else. Miss Wilmore is unknown outside of this single department of her profession. It is needless to extend the list. They are all alike, and if, by any chance they could once be united in the representation of a genuine drama, requiring some degree of intelligence and culture, our audiences would very soon discover upon what insecure pegs their homage has of late been hung. The fact is, that neither the supposed abilities of these young women, nor the pretended merit of the entertainment in which they appear, is the cause of their attractiveness. The spirit in which they are welcomed and applauded is precisely that which impels a certain class to seek their literary recreation in weekly pictorial publications which we do not care to name. Visitors to the Louvre have sometimes observed that while the finer collections of that noble gallery were passed by with comparative indifference, the Rubens’ corridors would be thronged with eager grazers, lured and enchained not by the vigor and brilliancy of the paintings, but by their bold disclosures of brawny nakedness. In like manner, the more chaste examples of ancient and modern sculpture in London are disregarded by prurient multitudes who flock in ecstacy [sic] around the yellow hair and rosy flesh tints of Mr. Gibson’s Venus, tempering their adoration only with regrets that the already robust proportions of the goddess cannot be artificially amplified. Such are the sentiments which have thus far inspired the recognition of our burlesque and ballet visitors. It is fortunate that only a section of the comunnity [sic] is animated by them, and that even their curiosity must in course of time be satisfied. Meanwhile, as we have again and again pointed out, the managers, while yielding to this ignoble popular impulse, are handing over the native profession to ruin, and preparing the way for their own utter discomfiture when the reaction comes.It is mortifying to find, on looking over the record of the last eight or ten months, with what readiness the theatres have been given up to the inroads of this new ‘sensation.’ It first set in at Wood’s, early in October, and has continued there almost without interruption up to the present time. In December it spread to Niblo’s, where it is still dominant. Two little theatres, the Comique and the Waverley have since relied upon it almost exclusively. It has also occupied the most prominent place among the varied exhibitions of Tammany. And now, by a coincidence which few could ever have foreseen, it is adopted at the same moment by Wallack’s Theatre and the Bowery. Nothing that we can see now prevents it from swamping every place of entertainment, except Booth’s [no small caps], that the City contains. As we have said, the one consoling reflection is, that it may all be over the sooner. If it were done when ’tis done, then ’twere well it were done quickly.”

“Burlesque has evidently had its day. Though it dies with reluctance it is surely dying. At Wallack’s Theatre and Niblo’s Garden its headquarters are now established, and at these two theatres it will, we presume remain for a month or two longer. Elsewhere it will expire in feeble, spasmodic contortions. At Wood’s Museum its dying [illeg.] was given on Saturday evening. Thenceforward, during the next two weeks, athletes and educated animals are to be exhibited at this theater. All the ‘magnificent scenery,’ ‘gorgeous costumes,’ etc., used in the representation of ‘Robinson Crusoe,’ are now advertised for sale. The glory has departed. These two coming weeks of gymnast and monkey are to pave the way for a revival of legitimate drama. Mr. Eddy, the tragedian, will commence an engagement at the Museum, on the 28th of June, when an entirely new play will be performed. Rumor says that this new piece is a dramatic version of ‘The Wandering Jew.’ Wood’s Museum will not be alone in illustrating this reaction from trash to the legitimate drama. Other mariners on the dramatic sea have recognized the portents of wind and cloud, and have trimmed their sails and shaped their course to the same haven of refuge. That sagacious captain, Mr. Leonard Grover, sheers away betimes from the surf-beaten ice-shore, and makes for a safe harbor. Mr. Bryon’s drama of ‘Blow for Blow,’ some time since a [illeg.] success in London, will be produced at the Tammany on Monday evening, June 21, and Mr. Grover promises that it shall be performed by a good company of American actors. On the same night—the auspicious 21st of June—the Fifth-ave. Theater, purged of Opera Bouffe, will be occupied by Mr. Frederick Robinson and his condjutors [sic], from Boston, in the drama of ‘Dora,’ and the musical burlesque of ‘Back Eyed Susan.’ ‘Dora’ is an excellent lay, made by Charles Reade, on the basis of Tennyson’s pastoral poem; and Mr. Frederick Robinson has gained a great deal of honor by his performance—at Selwyn’s Theatre, in Boston—of Farmer Allan. Miss Lizzie Price, of the Arch-st. Theater, Philadelphia, will enact Dora. This play, it will be remembered, was first acted in New-York at the Broadway Theater, a year or ago or more, when Mr. Jack played the farmer and Miss Kate Newton was Dora. It was a failure here, simply because it was badly acted. Under the new conditions it ought to be a triumph of acting and a luxury to the theatrical public. Mr. Selwyn, we once more advise our readers, has no connection with this Fifth Avenue Theater enterprise. One of the weekly papers, we observe, makes him defendant in a suit alleged to have been brought by Mr. Grau, because the Boston party preferred to go to the Fifth Avenue instead of going to the French Theater. This is an idle report. If the Boston party broke its contract it paid its forfeit, and there an end. Its preference for the Fifth Avenue house was natural and wise. At any rate, Mr. Sewlyn is in no manner concerned. Still another theatrical enterprise in the legitimate vein is to take wing at the Grand Opera House on the 21st of June, when, as previously announced Miss Lucille Western will appear there. Miss Western’s [illeg.] province on the stage, for some time past, has been [illeg.] illustrate the passion and anguish of the unfaithful wife and repentant adultress, in the dual character of Lady Isabel and Madam Vine, in the play of ‘East Lynne;’ and this province, doubtless, she will continue to fulfill, at the Grand Opera House. Later in the Summer, as the whisper now goes, a revival of ‘Patrie’ will be made, with Mr. E. L. Davenport, Mr. James Wallack, Miss Rose Eytinge, and other favorite players in the east. The idea is manifestly a good one, and might be carried out to a successful re[illeg]. Best of all in the rich promises of true dramatic entertainment is the announced presentation, at Booth’s Theater, of ‘Enoch Arden, or Under the Palm.’ This [illeg.] is to come on the 21st of June, and will be garnished with all needful beauty in the way of scenes, costumes and music. Mr. Witham has painted entirely new scenery for the piece, and Mr. Waller has cast it to the best advantage. As Enoch Arden Mr. Edwin Adams will have the opportunity of depleting hig-souled [sic] magnanimity and heroic self-sacrifice, in a homely, simple embodiment of tender, manly character. Doubtless he will improve it to the fullest extent. Meanwhile, at Booth’s Theater, we are to enjoy another week of miscellany, with what extraordinary accuracy and finish standard plays are offered at this theater there cannot be need that [illeg.] should say [sic]. The public can use its eyes [illeg.] see good dramas better presented at Booth’s Theater, as far as the dressing of the stage is concerned—than they have ever been presented elsewhere in New-York. At Niblo’s, Wallack’s, and the Olympic Theater no change will be made for some time yet. The Olympic Pantomime [sic] remains especially prosperous, the introduction of the Kiralfy Troupe having augmented the attractiveness of what was already very attractive—namely, the matchless pantomime playing of Mr. Fox. The Wallack Pantomime of ‘Mother Hubbard’ has been greatly improved, and is drawing good houses. The Waverley Theater closed on Saturday night, but will be reopened on Thursday, the 17th inst., when the Elise Holt Troupe will once more appear, in ‘Paris, of The Judgment,’ under the management of T.E. Morris. A new burlesque actress from London—superfluous emigration of bare-legged burlesquers still continuing—will appear on this occasion. Miss Weathersbee is her name, and Mercury her character. The Willmore & Rogers Troupe, lately performing at the Waverley, goes to Brooklyn, and thence, we trust, will proceed to England, home, and duty. The Simpson Troupe, lately at Wood’s Museum, presents itself to night [sic] at the Theatre Comique. Albion’s chalkey [sic] cliffs should likewise be the goal of this party of mummers. In the expressive slang of the hour, ‘this thing is played out’ in New York. Opera Bouffe, likewise, totters to its fall. After one week, we shall hear no more of Offenbach and see no more of the Can-can. Only one week of burlesque remains at the Tammany. ‘Fra Diavolo’ has been brought out there under the title of ‘Beppo’—Mr. Leffingwell enacting Beppo, in which part he gives an amusing treatise of the mannerisms of Edwin Forrest. Altogether, the local theatrical world is in a lively state of excitement which bids fair to terminate in a condition of more wholesome repose than our stage has enjoyed for a very long time.”

“With the ending of the present week opéra bouffe in this city comes to a full stop. During the past year it reached the meridian of its glory and popularity, not only in this country but also in Europe, in which latter part of the world it still managers to maintain a semblance of vitality, while here it is now in its dying throes, without a plank to stand upon, and is even denied, by a fickle public, the crumbs of patronage necessary for its support. For many months this frothy luxury held our citizens captive with its sparkling effervescent harmonies and droll nonsense, and at one time it even appeared as though they could not possibly get enough of it. But, as of everything else, they soon tired of their new found pleasure, and, sighing for a change, if not for something more substantial, they have at last cast away the enchanting musical bauble and will have nothing more to do with it, at least for some little time to come. There was a peculiar sort of charm about it, a freshness and a novelty that was both fascinating and enjoyable; but, though at the outset it was relished by the public, it proved in the end a costly toy to more than one of our managers. Whether or not opéra bouffe will be revived again next season is as yet a matter of little doubt. At all events the opera bouffers who have enlivened us during the past nine months with their drolleries and sparkling melodies are now departing in small detachments for la belle France, and with Saturday evening next vanishes the last genuine opéra bouffe performance from the stage in this city.”

Two brief paragraphs in same column of varietal announcements.

“Affairs at the Olympic and at Niblo’s Garden are so quiet as to afford no peg whereon to hang a comment. Burlesque, pantomime, and ballet prosper sufficiently at both houses.”

“Five new dramatic enterprises in the line of the legitimate drama will be undertaken in New-York next Monday evening—at Booth’s, the Fifth Avenue, the Grand Opera-House, Wood’s Museum, and the Waverley Theater.”