Shenandoah | Page 4

not merely cleverly arrived at, but were philosophically digested.
How different the dialogue from the notes!
This article was written in 1906; it conveys many impressions of early
feminine struggles for political independence. The fact is, Mr. Howard
often expressed his disappointment over the showing women made in
the creative arts, and that he was not willing to let the bars down in his
own profession is indicated by the fact that, during his life-time,
women dramatists were not admitted as members into the club he
founded.
The reader is referred to two other articles by Mr. Howard--one, "Trash
on the Stage," included in the "Memorial" volume; the other, on "The
American Drama," which is reproduced here, because, written in 1906,
and published in a now obsolete newspaper magazine, it is difficult of

procuring, and stands, possibly, for Mr. Howard's final perspective of a
native drama he did so much to make known as native.
The most national of Howard's plays is "Shenandoah;" it is chosen for
the present volume as representative of the military drama, of which
there are not many examples, considering the Civil War possibilities
for stage effect. Clyde Fitch's "Barbara Frietchie," James A. Herne's
"Griffith Davenport," Fyles and Belasco's "The Girl I Left Behind Me,"
Gillette's "Secret Service," and William DeMille's "The Warrens of
Virginia"--a mere sheaf beside the Revolutionary list which might be
compiled.
According to one authority, "Shenandoah" was built upon the
foundations of a play by Howard, produced at Macauley's Theatre,
Louisville, Kentucky. As stated by Professor Matthews, the facts are
that Howard took a piece, "Drum Taps," to Lester Wallack; who, true
to his English tradition, said that if it was changed in time from the
Civil War to the Crimean, he might consider it. It is certain, however,
that if the cast of characters, as first given under the management of
Montgomery Field, at the old Boston Museum, November 19, 1888, be
compared with the program of the New York Star Theatre, September
13, 1889, it will be found that the manuscript must have been
considerably altered and shifted, before it reached the shape now
offered here as the authentic text. The fact of the matter is, it was not
considered a "go" in Boston; we are informed that such managers as
Palmer and Henry E. Abbey prophesied dire end for the piece. But
Charles Frohman hastened to Boston, on the advice of his brother,
Daniel, and, giving half-interest in the piece to Al Hayman, he arranged
with Field for rights, procured "time" at the Star Theatre with Burnham,
and, as is told in "C.F.'s" biography, hastened to Stamford, Connecticut,
to talk with Howard. According to this source, he said to the
playwright:
"You are a very great dramatist, Mr. Howard, and I am only a theatrical
manager, but I think I can see where a possible improvement might be
made in the play. For one thing, I think two acts should be merged into
one, and I don't think you have made enough out of Sheridan's ride."
The opening night, with General Sherman in the audience, was a
memorable occasion. It was the beginning of "C.F.'s" rapid rise to
managerial importance, it ushered in the era of numberless road

companies playing the same piece, it met with long "runs," and the
royalty statements mounted steadily in bulk for Howard. It was the
success of the hour.
But "Shenandoah" is undoubtedly conventional; its melodramatic
effects are dependent on stage presentment rather than on the printed
page. In fact, so much an artisan of the theatre was Mr. Howard that he
was always somewhat skeptical of the modern drama in print. When he
was persuaded to issue his last piece, "Kate," in book form, he
consented to the publisher's masking it as a novel in dialogue, hoping
thus, as his prefatory note states, "to carry the imagination directly to
scenes of real life and not to the stage." To the last there was a
distinction in his mind between literature and the drama. It is since this
was written that the play form, nervous and quick, even in its printed
shape, has become widely accepted.
"Shenandoah" is a play of pictorial effects and swiftly changing
sentiment. Were there a national repertory, this would be included
among the plays, not because of its literary quality, but because of the
spirit to be drawn from its situations, framed expressly for the stage,
and because of its pictures, dependent wholly upon stage accessory. It
is an actable play, and most of our prominent actors, coming out of the
period of the late 80's, had training in it.

THE AMERICAN DRAMA
by
BRONSON HOWARD
In considering the present standing of the American drama, compared
with the time when there was little or nothing worthy of the name,