Читать книгу The Arena. Volume 4, No. 23, October, 1891 - Various - Страница 3

BY HAMLIN GARLAND

In May last, in a small hall in Boston, on a stage of planking, hung with drapery, was produced one of the most radical plays from a native author ever performed in America. Mr. and Mrs. James A. Herne, unable to obtain a hearing in the theatres for their play, which had been endorsed by some of the best known literary men of the day, were forced to hire a hall, and produce Margaret Fleming bare of all mechanical illusion, and shorn of all its scenic and atmospheric effects. Everybody, even their friends, prophesied disaster. In such surroundings failure seemed certain. But a few who knew the play and its authors better, felt confident that there was a public for them. It was a notable event, and the fame of Margaret Fleming is still on its travels across the dramatic world.

There were two reasons for this result, the magnificent art of Mrs. Herne, which “created illusion by its utter simplicity and absolute truth to life,” and second, because the play was, in fact, as one critic said, “an epoch-marking play.” It could afford to dispense with canvas, bunch-lights, machinery, as it dispensed with conventional plot and epithet, and as its actors discarded declamation and mere noise.

The phenomenal success of Mr. and Mrs. Herne brought them prominently before the literary public. Interest became very strong in them as persons as well as artists, and from an intimate personal acquaintance with them both, I have been asked to give this brief sketch of their work previous to Margaret Fleming