THE GLOBE. THURSDAY, SEPTEMBER 25, 1879.

Globe, Volume XXI, Issue 1747, 25 September 1879, Page 2

THE GLOBE. THURSDAY, SEPTEMBER 25, 1879.

Affaies theatrical are, at the present moment, attracting a good deal of attention in Christchurch. The advent of the Loftus Troupe, heralded by sinister paragraphs from Northern journals, created in its own line as much excitement as did the candidature of Sir George Grey in the line political. These paragraphs led the reader to believe that a whirlwind of immorality was about to swoop down on the Cathedral City, and that if its inhabitants could withstand its fatal embrace they would show more self-respect than had been evinced by the dwellers in more northern latitudes. Now we have not the slightest intention of entering upon an elaborate criticism of the performances of the Troupe in question. It will not, we fancy, bo gainsaid that the tone of these performances is not of the most elevated character, that thoy aro vulgar, and, in many parts very coarse, and that no man is at all likely to loavo thom feeling the better, morally speaking, for his evoning's entertaiment. It is rather with the responsibility of the public with regard to dramatic entertainments that wo wish to deal. Professor Blackie not long ago at a public dinner made the following ro mark: —" If there is anything wrong in the theatre it is the fault of the public." Truer words than these were never spoken. If inferior and low-toned representations draw large houses, and managements that do their beat to place before

the public 'sterling works performod by superior artists, cannot pay oxponses, it is due to two causes —Firstly, the patronisers of the low type of performance are willing to spend their money; secondly, the patronisers of the higher class leave the gentlemen who are doing their best by the public,*out in the cold. Meetings have at times been held in this city with the view of seeing whether something cannot be done to raise the general tone of the drama. Panaceas without ond wore offered by the speakers; State supervision, &c, was held up as the deus ex which would euro the present disastrous state of affairs. But throughout these meetings, the speakers had entirely " got hold of the wrong ond of the stick." The drama itself, they failed to see, was not at all to blame. The modern drama is not the meretricious jade that it pleased certain of the speakers on these occasions to dub her. Not a shadow of suspicion can rest on most of the few tragedies that aro written now-a-days, or on the higher class of comedy. Take, for instance, " Diplomacy," " New Men and Old Acres," and " Our Boys." Nobody over felt the worse for seeing such as those. In " New Mon and Old Acres," there is a most hoalthy tone throughout, tho satire is good, and it is thoroughly amusing and refreshing. The drama is not now in the state it was when Congreve and Shadwell wrote. Then indeed it was far from pure, and deserved all the hard things that havo since been said of it. But the modern drama, although of course not perfect, cannot at least be complained of as lowering tho popular morals. Far otherwise; it is tho public that is attempting to lower the drama. Take tho case in Ohristchurch. Within tho last six months there havo visited us gentlemen who have given us pleasing and faithful representations of some of our best plays. Messrs Rignold and Creswick illustrated Shakespeare in a very satisfactory manner. Although some might perhaps not altogether agree with their renderings of the various characters, yet without doubt they are superior artists, and it is always a pleasure to listen to them. They were well supported, and the plays in which they took part wore put on tho stage regardless of expense. But how were they supported ? If anyone had interviewed tho' manager, his long face alone would have given a reply. And now, we have amongst us Mr. "Wybert Reeve, than whom it would, indeed, be difficult to find a more finished actor in the higher branches of comedy. And how do the public show their appreciation of the enterprise that has brought him into our midst ? Again, ask the manager and see what he has to say in tho matter. Far, then, from the modern drama being responsible for the state of things that i 3 prevalent here, those who uphold it aro struggling against the dead weight of a public that, as & role, care no more for true dramatic art than they do for logarithms. Tho minority, who doclaim against the action of tho majority, aro principally conspicuous by their total want of energy in supporting the ideas which they hold. They cry out lustily when trashy and lowering "performances draw enormous houses, but they never think of extending their patronage to any extent to those who place before the public works of a superior nature. They hold meetings and sigh over the degenerate state of the drama, but do they put out their right hands to aid those who endeavor to mend matters ? It is absolutely ridiculous to watch the apathy of these would-be reformers. No man, unless he displayed more energy, would be able to reform a child three years old; how then can they hope to do anything towards raising tho taste of the public at large. The sooner they recognize the truth of Professor Blachie's words tho better : —" If there is anything wrong in the theatre it is the fault of the public." With tho public these would-be reformers should deal by means of example, and the public might, in course of time, cease to connect with the idea of the drama entertainments that are no more really connected with it, than aro the antics of the man who swallows fire by the yard or who pushes a sword down his own miserable gullet.