ECONOMICS OF THE DRAMA.

THE folowing able letter will be Perused with interest by such of our readers as love the Drama. our correspondent's picture of the abuses arising from the monopoly in. favour of the large theatres, is striking and true : but his plan of reform is question- able, and (if we understand it) inconsistent with his own prin- ciple of "throwing open the trade." When he proposes that theatres shall be erected in various districts,—that the actors Shall be formed into companies, under the control of managers, —that a scale of prices shall be fixed, &c.—the question is, who is to do all this? It must be some one general

controlling power, emanating, we suppose, from the Government. . i This, we conceive, s as opsiosite as possible from throwing

open the trade. It appears to us, that the short and simple plan is, to abolish all exclusive privilege ; and then the proprietors and actors will be inclined to say, as the French merchants did to COLBERT, " Laissez-nous faire."

TO THE EDITOR OF THE SPECTATOR.

Sea— Pending the labours of the Committee of the Housa of Commons ap- pointed to-inquire into the effects of the laws relating to the Drama, I beg to trouble you with a few suggestions towards a plan for the better regulation of theatrical affairs.

I attribute the present bad state of theatrical property to two causes—mono- poly and bad management. The decline of the fashion for theatricals may be a secondary cause, but I consider it one of a trivial nature, which' might have been in same measure averted by managers, and certainly ought not to have been severely felt, had they shown a disposition to invite the encouragement of the many by way of set-off to the loss of the patronage of the few. As the Taller truly observed, there has been no loss of public favour, but only-a change in the class of persons who support the stage. , That theatrical property, however, notwithstanding its alleged depreciated state and its evident fluctuating condition, is still marketable, we have proof in the competition for the lease of Covent Gar- den ; and in the numerous small theatres that are springing up around the town. I think you will agree ivith me in opinion, that it is not presuming too much to anticipate that the result of the present Committee of Inquiry will probably be, a recommendation to "throw open the trade,"—that is, 'no longer to limit the number of theatres, and to permit the regular drama to be acted in all- then); and, 'as a necessary consequence' to afford prateCiimi to the property of the dramatist, not by limiting the, performance of his -plays to any one house, but-ter secure to-him a remuneration according to the popularity, of the piece, in theshape Of a certain ratio' of profit On each representation, as is the case in Paris. Under such reetdatiore, it will be evident to every liberal-minded per-

-son, that the success of theatrical performances will depend on their own merit ; and fait and open competitiou will secure to the public the best amusement at the cheapest rate. Hitherto the proprietors of the two Great Monopolies have sought to fill their treasuries by enlarging their houses ; but they have found . that audiences did not increase with the size of their theatres. Yet, having . made them so large, they could not bring themselves to confess their error, but endeavoured to repair it by addressing the eye and ear by sights and sounds that fatigued the senses without satisfying the mind. Actors were dwarfed into fan- - toccini ; and SHAXSPEARE and SHERIDAN became second to FARLEY and STANFIELD. But even the managers of the Great Monopolies have become - sensible of their error, and the capabilities of their houses for reduction in the . size of their area is already announced. Spectacle does not pay ; Robert the Devil burnt the fingers of all that touched him ; awl elephants and bons are voted bores.

It is agreed on all hands, that theatres should be of such moderate dimensions U that the spectator in the most distant part of the house shall be able to see and to hear. This will afford room for a convenient space between the seats, and greater elevation in the back rows of pit and boxes, that tall persons and high-crowned caps may become less nuisances to those who sit behind them. No greater number of persons should be admitted than can be aecommodated with seats, and no seats should be placed but where there is a commodious space. As it is, the smaller theatres are often so crowded that one twentieth part of the audience can neither sit nor stand, see nor hear, with comfort to them- selves or neighbours. This is bad policy, because it deters many persons from visiting the theatre. The fatigue, and even danger (arising from cold), in at- tending the minor theatres, especially the Adelphi and Olympic, are proverbial. Smaller theatres will produce lower rents and better acting. As regards rental, the lessees of the two Great Houses pay a rent proportioned to the claims of the shareholders, rather than to the actual value of the property. They are taxed to pay the debts of former proprietors; and by way of remunerating themselves for this enormous rent, they think to force a trade by an outlay- of money on decorations, tic., hinking, that the greater the expenditure, the larger will be the returns. Thus each manager has an accumulation of actors, more than he can bring upon the stage. He engages a clever actor to prevent his rival from securing him; or because she or he is clever, without regard to the state of his company. And so injudicious is the way in which these engagements are made, that we see in pieces, "written for the company," a double set of parts ; for in- stance, two pert chambermaids, two lying valets, two pairs of loving heroes and heroines: while at other theatres, a drama is got up for the purpose of showing off the peculiar talent of the star of the company ; so that the audience sees him as through a telescope, like a planet surrounded by his satellites. Another advantage attending small theatres and their attainment of the pri- vilege of acting the regular drama, will be, that a better style of acting will pre- vail, and a higher class of actors will be found. At present, the physical qualifi- cations of goad lungs, good figure, and strongly--marked features (stage features i

as they are termed), are essential requisites n the individual ; and loudness, grimace, and over-acting in the performance; consequently, persons possessing merely personal advantages, and who can mouth, swagger, and make faces, usurp the place of intellectual actors—a class (with a few great exceptions) hardly known. Take, as an instance, Mr. SHERIDAN KNOWLES, the expression Of whose countenance, when-seen at a .reasonable so;aruess, is finely varied, bukat a distance it is merely "a face of fat intelligence," as the critic in the 3forning Chronicle described it. Mr. KEAN is an old example of this disadvantage, but then he had a decided manner and physical powers of action that rendered the least valuable part of his performance effective at a distance. The success of Mr. KNowtas, doubtless, depended much on the fact of his appearing in the double character of author and actor : but there is an interest excited by his acting, independently of this circumstance, and it is to be ascribed to his intel- lectuality of feelingand originality of style; for even his la usquerie' of manner is better than the conventional stage air and delivery, which has gone far to spoil Miss KEMBLE and has quite spoiled Miss TAYLOR. ELLEN TREE, for instance cannot be appreciated by three fourths of the audience at Covent Gar- den ; all the delicate lights and shades of look, voice, and manner which render her performance so beautiful to the near observer, are lost to the rest of the house.

The successful appearance of Mr. SHERIDA N KNOWLES will have the effect of bringing forward on the stage persons of education and theatrical talent, who cannot produce an effect in a large theatre, and who will not descend to be the stalking-horses of burlettas. Mr. SERLE is of this class; but necessity, perhaps, obliges him to appear at a theatre where not the most refined audiences seek amusement. Mr. PEMBERTON'S talents, too, are lost to the stage at present, from this cause. It is remarked by those who frequent minor and even private theatres, how much first-rate talent there is seen among individuals in a limited range of characters. It is only natural to suppose, that an actor would personate that character best which was most congenial to his personal humour and dis- position • and this is seen at private theatres where the part is chosen by the actor, when it happens that he has the good sense to discover the direction in which his talent lies.

As regards the number of theatres, there are at present too many for the town, and too few for the suburbs. It is too much to suppose that people will put themselves to inconvenience and expense to enjoy an amusement already costly enough to those in its neighbourhood. As Mr. BULWER asked, "Why must we come to Covent Garden to sees good play well performed ?" The ex- pense of coach-hire, or the inconvenience of walking a distance to and from the theatre, the lateness of the hour, the length of the entertainment, the incommo- dious seats, the heat and the draughts, added to the cost of admission, are quite sufficient to prevent the residents of the suburbs from attending the theatre —often, even without taking into consideration the attractions of home, books, music, and society. No intelligent person, either, will pay a second visit to see the wretched mummery that is exhibited at the places called theatres, in the suburbs, but which are no better than the shows of Bartlemy Fair. But carry theatrical amusements to the different neighbourhoods round town ; let the entertainments be rational, the actors clever, the time and duration of the per- formance convenient to the locality, and the price of admission moderate, and respectable families will visit the theatre frequently. The average expense of one visit of a family party to the theatre may be fairly reckoned thus-

Coach-hire to and from the theatre for six persons from Climber-

well, Kensington, Highgate, or any other suburbs, at the #. s.

lowest rate 0 15 Places in the boxes for six 2 2

2 17

and this without refreshment, during an absence from home of Six or seven hours. The chances of illness from fatigue, late hours, cold, &c., are super- adaitions to the delights of an evening's play-going, purchased so dearly. • The daughter coughs at breakfast ; and her graff Papa, Cries 'There you go !' tltis comes of playhouses. '

Why if the theatre be, as it may be rendered, a place for rational and intellectuel entertainment and even instruction, May families not visit it with the same ease and comfort as in attending a lecture or an exhibition ? "But how is this to be rua- naged?" I hear some one ask. I answer thus. Let commodicus theatres be erected iiteverypopulous and respectable neighbourhood round town, and in various dis- tricts within, its boundaries., Let theatre be formed ionasenarate.companjes, Mader the control of a manager, for the performaace respectively of tragedy,

comedy, opera, melodrama, farce, pantomime, ballet, fse. Let the proprietors of the different theatres either engage these several companies nightly, or let out the theatre to them, as the parties may agree. Let the performances of each evening not extend beyond three hours' duration, and consequently be confined to a play, or a farce and ballet, or two short pieces. The prices of admission may then, of course, be materially reduced, as the nightly expenses of the house will be limited to the rent, lighting, &c., and the salary for the night of the actors actually performing. The following scale would afford ample remunera-

tion to the manager and actors. 8. d. Boxes—Dress circle 5 0

— First circle 4 0 ITpper circle (if any) 3 0 Pit 2 0 Gallery 1 0. Upper Gallery (if any) 0 6 Private boxes in proportion.

.

The Dress circle should be exclusive, especially in the London theatres. There Arial be a separate retiring-room, lobby and staircase ; and the seats should be the property fur the evening of the individual securing them. In the suburban theatres, which would of course be smaller than the principal ones in London, there would not be that necessity for keeping the Dress circle exclusive; and the highest price to the boxes should therefore be four shillings. The upper side boxes, or slips, should be appropriated as a gallery ; and the boxes should be fitted up with a greater accommodation of space and privacy .than at present, and with better facilities for seeing and hearing. The pit being small, would not allow of the front rows being appropriated as stalls. There would be no hilf price under this arrangement, of course, nor any need of it, for the whole amuse- ment would be at half price. To accommodate however, the numerous class of persons engaged in business, and to whom, indeed, theatrical amusements are a most acceptable relief after the bustle of the day, the theatres in town should commence at various hours —some at seven, as at present, others at eight, and a few at nine o'clock. By these means, all classes, from.the highest to the lowett, and all persons, whether resident in or out of town, would beaeconnuothrted with the best entertainment. MACREA DY would delight equally the inhabitants of Pimlico and Whitechapel ; and Miss IN VF.RARITY ravish the ears of the resi- dents of Grosvenor Square and of Greenwich. The great advantage to be derived from the formation of separate companies, would be that the performers would learn to play to each other, and each would act his best, and make his part complete in itself, and yet harmonize with the i rest like a finished figure n a well-painted picture. The actors would be ani- mated by the esprit du corps, and we should have a comedy or nirgerly repre- sented with the same perfection as the German operas.' Companies would be formed of various degrees of merit in the ensemble, but all working equally well. This arrangement might also extend to the whole country ; and the in- habitants of great towns, instead of being limited to an occasional star; be en- lightened with a galaxy, by the operation of this revolving planetary system. The supernumeraries of processional displays, &c., would be stationary .wrth the theatre ; but not so the chorus-singers of the opera, or.the subordinates of the corps de ballet. These would constitute, under this new plan, as. important a part of the performance as the chorus of the German opera. The old starring system—which rendered the whole of the company subservient to the display of one individual, and which has rendered even Sii.aesee.attE's plays mere wormo.. logues, encumbered with useless dialogue, the beauties of which were marred by bad delivery and slovenly acting--,would be at an end. We may fancy how the seeondary characters, and lesser delicacies of sentiment and language, would he brought out by the perfection with which we occasionally see subordinate parts played even under the old reginte,—such, for instance, as the Niser in Fazio played by BLANCHARD,. and Dogberry and Verges by trim and Kszpir, among many others.

The numerous details of my subject have led one into a greater length than I had anticipated; but my diffuseness will not, I trust, prevent the subject re- ceiving the benefit of your consideration. Indeed, my object has been to explain the plan (which is not entirely new, as you will perceive), and to support may views by the most obvious arguments in their favour.

I am, Sir, your constant reader, PHI LO.DRAMATICUS.