THE GLOBE. FRIDAY, AUGUST 13, 1880.

Globe, Volume XXII, Issue 2019, 13 August 1880, Page 2

THE GLOBE. FRIDAY, AUGUST 13, 1880.

It is with communities as with individuals—the sin will 1)0 sure, sooner or later, to find the sinning one out. The erring one may have apparently escaped, but the consequences of the sin are tracking him with a step stealthy and slow, hut sure. And then suddenly— And lo! one springe and he is fast in hell, Fast as the gin’s grip of a wayfarer.

The results of the fault are upon him, and he has to put up with them as best he may. These sage remarks have been induced by the contemplation of things theatrical in Christchurch. The Kelly gang have swooped down on the Cathedral city, and have seized it much in the same as they seized Jerildorio and other places. The theatrical boards of the City of the Plains are at present occupied by a piece which, from the sentiment which gave it birth, must be classed with the most undesirable of representations. Much as the “ Police News ” would he a most obnoxious publication to lay on a drawing-room table, so a drama founded on the acts of a set of ruffians is not the proper sort of piece to bo placed on the stage of a theatre. But who is to blame for all this P Most certainly the public at large. The stage, as has often been remarked, is a powerful lover in the education of a community. Poetry and the drama go hand in hand as guides of popular feeling. The individual who remarked that ho would willingly leave to others the making of the laws for a nation if ho might make their poetry, might have included in his wish the formation of their drama also. For the effect of a good actor on his audience is of the most powerful character, and is more lasting than might at first sight appear probable. When, therefore, the tendency of a play is to lower popular morality, that play should by all rights bo tabooed. But, as we have just asked, with whom lies the fault? Professor Blackie last year, at a public dinner, remarked “ If there is anything wrong in the theatre it is the fault of the public.” Truer words than these were never spoken. One thing may be taken for granted—actors and managers, as a body, would far rather place on the boards legitimate and high-class pieces than

those of another description. As a rule they take a pride in their profession, indeed an enthusiastic pride, and are well alive to the lowering of their art that takes place when low-toned representations are given. But they must live. If the public will not patronise the better class of tragedy and comedy what is to be done ? Something that will draw houses must be given. The public must be attracted at all risks. To expect anything else would be altogether Utopian. The actor has his profession, and because the public will not come and see the high-class drama ho cannot be expected to break stones on the roads or become a commission agent. Indeed, once become an actor, and an individual is singularly unadapted for any other walk of life. There are records of poets and painters becoming statesmen, &c., but an actor has never, as far as wo are aware, distinguished himself greatly in any other lino than his own. The frame of mind he has to cultivate to succeed in his art seems to bar him from the successful cultivation of other professions. So much granted, it is evident that he must “ stick to his last,” and if the public will not allow him to play good pieces he has to give bad ones. Now look at the views of the Christchurch public on the subject. Stirling actors such as Creswick, Rignold, and Wybert Reeve, come and give representation of the better sort and play to empty houses. The management is in despair. Large sums of money are spent in obtaining these actors and giving their pieces with appropriate scenery, &c. The management loses heavily, and probably goes through the Court in consequence. The public are entirely unsympathetic, but when, as a natural consequence, the Kellys swoop down on the boards, a cry is raised, the management is blamed, and the theatrical affairs at large fall into disrupts. Possibly bodies like the Cathedral Guild hold meetings and ventilate ideas as to the reform of the drama. The results are, of course, altogether unpractical, but it pleases them, and hurts nobody. But if the truth wore told. Professor Blackie is in the right. "We do not exactly say that the Christchurch public is to be classed among the “ Kelly sympathisers,” but we do say that their almost culpable negligence in neglecting to support the legitimate drama has brought upon them a visitation from the outlaws.

Apart from the morhid sentiment which draws people to see the piece entitled “ The Kellys,” there is, however, not much that is likely to attract to a career of crime in the play itself. Certain very week-kneed denizens of the pit might, perhaps, fancy that these murderers are made out to he very fine fellows, but the ordinary spectator will not be struck by their characters as represented. They are, indeed, extremely unreal and by so much the more harmless. Ned Kelly philosophizes whenever he has a chance, and is given to wiping tears out of the corners of his eyes in a manner not likely to be true to life. Miss Kelly is shown as the angel of the Strathbogie ranges. Dressed in a faultless riding habit she appears to spend her time ia galloping after her brother Ned andaskinghim to repent. She is constantly throwing herself between him and his victims in a manner that shows she has a moat usefn. idea of the value of time, as she never appears on such occasions except at the supreme moment. The schoolmaster is as about as untrue to any possible man as the railway engine, which is bright green, is to any known railway engine. There is, moreover, a man of all work, and a maid of all work, both of the funny type, who are so distinctively stagey as to be quite removed out of ordinary possibilities. Amongst all theie phantoms flits the heroic priest, runninj over with fine moral sentiments, whici are given regardless of time or place. But where do tho Christchurch public wish this sort of thing to eri? They refuse to patronise the legitimde drama. Is it their wish that tho Kely type of drama should he carried out ti its legitimate conclusion ? Much morhi curiosity would be, no doubt, raised if xany of the occurrences that happen in our midst where placed on the boards pith appropriate surroundings, and thoirical managers would wax fat. Minor Jeccadilloes might ho written up by nterprising playwrights into pieces suied to the popular taste. For instances councillor some time back refused to .How an inspector of nuisances admision to his premises, although the latter pas an officer of the Council to which th former belonged. Tableau—Heroic attitude of councillor and surprise of oicial. Little scenes like those, while nt possessing the objectionable features Jelonging to the representation of g3at crimes, might bo worked up into pleaing domestic dramas, which might draw large houses. It certainly lies with the public. If they neglect much longer topatronise the true legitimate business, va shall fully expect to find tho doseriptiu of play we have suggested seriously tabu up.