Wallack’s Theatre

Dan Bryant’s first engagement since his European Tour.

Includes list of cast.

     “After a very successful career in Ireland, Mr. Dan Bryant renewed his acquaintance with a New York audience at Wallack’s last night.  He has but recently returned from a foreign tour, so recently, indeed, that the effects of his transatlantic voyage appeared to tell somewhat upon his voice.  If the popularity which we are assured by the Irish press he obtained in Dublin was demonstrated by crowded houses and very vociferous enthusiasm, Mr. Bryant cannot complain of any falling off in the symptoms in New York, for the house last night was densely crammed, and the enthusiasm was displayed by something like a continuous shout from the upper part of the theatre, more oftentimes genial than discriminate.  In fact, from the beginning to end of the performance Mr. Bryant was the recipient of a very positive ovation; and as there are no parts in either of the pieces selected for his first appearance of any mark except his own, the interest of the audience naturally centered on himself.  In neither of the characters—the Irish Emigrant or Handy Andy—do we find those distinctive traits of the Irish peasant’s nature which are so difficult to delineate on the stage, and, indeed, are very seldom represented except by actors of first class talent in this line; and they are rare enough.  The character of Handy Andy is an extravagancy even as portrayed in Lover’s story.  In the stage adaptation it is a burlesque, and therefore no one expects any fine touches of nature to awaken the sympathies; or, indeed, anything except absurdities to provoke laughter.  It would not be just to Mr. Bryant to deny him the merit of success in this particular; for an audience more boisterous in their mirth, Wallack’s never held before until last evening.  The engagement of Mr. Bryant will of course continue for some time, if the management looks to its interests.  The inauguration of the season indicates a profitable return.”

     “Mr. Dan Bryant’s return was last evening welcomed by the largest that this theater has ever contained.  Not only every seat, but also every available space of standing room, was filled.  Mr. Bryant’s performances in ‘The Irish Emigrant’ and ‘Handy Andy’ showed the same quaintness, sincerity and fine appreciation of Irish character as of old; and their truthfulness and humor were recognized with the utmost fervor of approbation.  These pieces are to be repeated every evening this week.  On Monday next the new play of ‘Shamus O’Brien’ will be produced.”

     “Dan Bryant, who enjoys much popularity as a minstrel and Ethiopian comedian, some time ago – perhaps a year or more – determined to try what he could do on the regular dramatic stage, as an Irish comedian.  While his troupe of minstrels were enjoying their usual summer vacation, Mr. Bryant made his appearance at Wallack’s, and as far as big houses are concerned, his success was great.  The papers praised him unqualifiedly, pointing out none of his faults, but rather suggesting the idea that he was perfect in all he said and did.  This was wrong, and we said so at the time, knowing that an ambitious performer, by having errors of judgment, etc., pointed out to him, will endeavor to remedy the defects, and thus gradually learn to identify himself more closely and naturally with the character assumed.  On the conclusion of his engagement on the white boards, Mr. Bryant rejoined his minstrel troupe, and performed with them until May last, when he set sail for Europe.  He performed in Dublin and Liverpool, and soon after returned to New York, having previously made an engagement to appear at Wallack’s Theatre in a series of Irish characters.  He made his appearance there on the 17th, before one of the largest audiences ever assembled in any theatre; so large, indeed, that not a vacant seat was to be seen, long before the curtain went up.  We were among those present, having a desire to witness the minstrel in his new line of business, ‘since his return from Europe.’  It is the custom with a certain class of writers – whose prejudices are strongly allied to foreign opinion – to announce the return of an American actor from abroad by saying ‘His European experience has vastly improved him; how artistic, how finished are his performances now to what they were before he appeared abroad,’ etc., and the same writers are equally profuse in their remarks touching his ‘improved personal appearance, manners’ etc.  Such stuff is nothing but toadyism.  But to the performance.  On Mr. Bryant making his appearance, he was hailed with a perfect storm of applause, some time elapsing before he could be heard.  He had selected for his opening programme, ‘The Irish Emigrant’ and ‘Handy Andy,’ neither of them being very brilliant, and neither of them requiring any great amount of dramatic talent to carry the heroes through successfully.  As an Irish comedian – judging thus early in his new career – Mr. Bryant is good, but not ‘great,’ as some of his so-called friends insist on calling him; he lacks those delicate touches of true art which throw over an impersonation the coloring of truth; he is funny, but his fun is not that which genius awakens in the soul, that lights up the face.  In this it was that the late John Drew surpasses all Irish comedians seen upon the American stage.  In characters requiring the exercise of true art to give finish to a protraiture [sic] of a high grade, Mr. Bryant fails; he is the rollicking Irishman of the theatre, but not of nature.  On the evening of his first appearance since his return, he appeared to be laboring under some restraint; the effect of nervousness or of his recent trip across the Atlantic; he is perfectly au fait in stage business, and never loses a point in the author if it can be made to tell; but there is a want of feeling, or more properly speaking, a want of pathos, in his delineation of Irish character; he has the voice, and certain intonations which can be made subservient to this necessary expression of the feelings, and if he neglects to use them properly, the fault is his.  Perhaps there is no class of people so susceptible to the tender feelings as the Irish, their hearts generally being in the right place; the truly pathetic helps to make up the real Irish character.  Mr. Bryant must not be criticised [sic] too closely just now; he is fresh in this line of business, and every allowance should be made for a transition from the minstrel boards to a legitimate stage.  Mr. B’s European trip has not improved him a particle, and we didn’t suppose it would; on the contrary, he seemed to be unusually nervous, his voice was husky, and he made a bad fist of it in attempting to sing the ‘Lament,’ a song always sure of an encore when well rendered.  Throughout the week, Mr. Bryant performed in the same pieces to crowded houses.  The production of Mr. Bryant’s new piece of ‘Shamus O’Brien’ has been postponed for the present, and Mr. B. will continue to play the ‘Irish Emigrant’ and ‘Handy Andy’ until further notice.  Whether Mr. Bryant intends to leave the minstrel business, and operate on the regular stage as an Irish comedian, we are not informed.  If he does so intend, he must be a close student, and endeavor to perfect himself in the new line of business, for outside of New York he will not find his audiences so lenient as they are in this city.”