The "star system" has added another victim to the many already sacrificed
to its rapacity and injustice. Mr. Phelps, an actor whose personation of
_Macduff_, the _Hunchback, Jaques_, &c., would have procured for
him in former times no mean position, has been compelled to secede from
the Haymarket Theatre from a justifiable feeling of disgust at the
continual sacrifices he was required to make for the aggrandisement of one
to whom he may not possibly ascribe any superiority of genius. The part
assigned to Mr. Phelps (_Friar Lawrence_) requires an actor of
considerable powers, and under the old _régime_ would have
deteriorated nothing from Mr. Phelps' position; but we can understand the
motives which influenced its rejection, and whilst we deprecate the
practice of actors refusing parts on every caprice, we consider Mr.
Phelps' opposition to this ruinous system of "starring" as commendable and
manly. The real cause of the decline of the drama is the upholding of this
system. The "stars" are paid so enormously, and cost so much to maintain
them in their false position, that the manager cannot afford (supposing
the disposition to exist) to pay the working portion of his company
salaries commensurate with their usefulness, or compatible with the
appearance they are expected to maintain out of the theatre; whilst
opportunities of testing their powers as actors, or of improving any
favourable impression they may have made upon the public, is denied to
them, from the fear that the influence of the greater, because more
fortunate actor, may be diminished thereby. These facts are now so well
known, that men of education are deterred from making the stage a
profession, and consequently the scarcity of rising actors is referable to
this cause.
The poverty of our present dramatic literature may also be attributable to
this absurd and destructive system. The "star" must be considered alone in
the construction of the drama; or if the piece be not actually made to
measure, the actor, _par excellence_, must be the arbiter of the
author's creation. Writers are thus deterred from making experiments in
the higher order of dramatic writing, for should their subject admit of
this individual display, its rejection by the "star" would render the
labour of months valueless, and the dramatist, driven from the path of
fame, degenerates into a literary drudge, receiving for his wearying
labour a lesser remuneration than would be otherwise awarded him, from the
pecuniary monopoly of the "star."
It is this system which has begotten the present indifference to the
stage. The public had formerly _many_ favourites, because all had an
opportunity of contending for their favour--now they have only Mr. A. or
Mrs. B., who must ultimately weary the public, be their talent what it
may, as the sweetest note would pall upon the ear, were it continually
sounded, although, when harmonised with others, it should constitute the
charm of the melody.
We have made these remarks divested of any personal consideration. We
quarrel only with the system that we believe to be unjust and injurious to
an art which we reverence.
* * * * *
VAUXHALL.--Vauxhall! region of Punch, both liquid and corporeal!--Elysium
of illumination lamps!--Paradise of Simpson!--we have been permitted once
again to breathe your oily atmosphere, to partake of an imaginary repast
of impalpable ham and invisible chicken--to join in the eruption of
exclamations at thy pyrotechnic glories--to swallow thy mysterious arrack
and
[Illustration: PUNCH A LA ROMAINE.]
We have seen Jullien, the elegant, pantomimic Jullien, exhibit his
six-inch wristbands and exquisitely dressed head--we have roved again amid
those bowers where, with Araminta Smith, years ago,
"We met the daylight after seven hours' sitting."
But we were not happy. There was a something that told us it was not
Vauxhall: the G R's were V R's--the cocked hats were round hats--the
fiddlers were foreigners--the Rotunda was Astley's--the night was
moon-shiny--and there was not--our pen weeps whilst we trace the mournful
fact--there was not "Simpson" to exclaim, "Welcome to the royal property!"
Urbane M.A.C., wouldst that thou hadst been a Mussulman, then wouldst thou
doubtlessly be gliding about amid an Eden of Houris, uttering to the verge
of time the hospitable sentence which has rendered thy name
immortal--Peace to thy manes!
STRAND.--The enterprising managers of this elegant little theatre have
produced another mythological drama, called "The Frolics of the Fairies;
or, the Rose, Shamrock, and Thistle," from the pen of Leman Rede, who is,
without doubt, the first of this class of writers. The indisposition of
Mr. Hall was stated to be the cause of the delay in the production of this
piece; out, from the appearance of the bills, we are led to infer that it
arose from the _indisposition_ of Mrs. Waylett to shine in the same
hemisphere with that little brilliant, Mrs. Keeley, and "a gem of the
first water" she proved herself to be on Wednesday night. It would be
useless to enter into the detail of the plot of an ephemeron, that depends
more upon its quips and cranks than dramatic construction for its success.
It abounds in merry conceits, which that merriest of--dare we call her
mere woman?--little Mrs. Bob rendered as pointed as a Whitechapel needle
of the finest temper. The appointments and arrangements of the stage
reflect the highest credit on the management, and the industry which can
labour to surmount the difficulties which we know to exist in the
production of anything like scenic effect in the Strand Theatre, deserve
the encouragement which we were gratified to see bestowed upon this little
Temple of Momus.
* * * * *
The Olympic Theatre has obtained an extension of its licence from the Lord
Chamberlain, and will shortly open with a company selected from Ducrow's
late establishment; but whether the _peds_ are _bi_ or _quadru_,
rumour sayeth not.