. Players and plays of the last quarter century; an historical summary of causes and a critical review of conditions as existing in the American theatre at the close of the nineteenth century. bly successful with The Mid-dleman and Judah. Mr. Palmers leadingproductions at this theatre were The BrokenSeal, by Sidney Grundy, Colonel Carter ofCartersville, Aristocracy, by Bronson How-ard, Mercedes, by Thomas Bailey Aldrich,and Lady Windemeres Fan, by OscarWilde. During these last years, Mr. Palmerdid not find his theatrical ventures profitable,and he gradually became so involved finan-cially that
. Players and plays of the last quarter century; an historical summary of causes and a critical review of conditions as existing in the American theatre at the close of the nineteenth century. bly successful with The Mid-dleman and Judah. Mr. Palmers leadingproductions at this theatre were The BrokenSeal, by Sidney Grundy, Colonel Carter ofCartersville, Aristocracy, by Bronson How-ard, Mercedes, by Thomas Bailey Aldrich,and Lady Windemeres Fan, by OscarWilde. During these last years, Mr. Palmerdid not find his theatrical ventures profitable,and he gradually became so involved finan-cially that not even the Paul Potter dramatisa-tion of DuMauriers Trilby, which ran fornearly two years in New York, could save recent years he has been quite content topass a quiet existence as Richard Mansfieldsmanager. Unquestionably Mr. Palmer wasmore receptive to the American drama thaneither Lester Wallack or Mr. Daly. Mr. Palm-ers final failure was the result of too strongcompetition in the theatrical business. Hecould not get plays abroad, and he could notget them at home. Mr. Palmer was an emi-nently intelligent manager, but he was con-servative. The plunger had entered the theat-. RICHARD MANSFIELD. Causes in the American Theatre 211 rical field, and it was his policy quickly tograb everything in sight. The just-a-trifle-slow and just-a-trifle-old-fashioned manager likeMr. Palmer had to go to the wall. Mr. Palmers place with Mr. Daly at thehead of the New York theatre was taken byDaniel Frohman, who had climbed into promi-nence on the back of the American play. Hewas first heard of at the Madison SquareTheatre, where he helped to make HazelKirke a valuable property, and to place Young Mrs. Winthrop, Esmeralda, TheRajah, and May Blossom before the these were American plays. In 1886Daniel Frohman took the Lyceum Theatreoff Steele Mackayes hands, organising theLyceum Theatre company, which in dueseason became an important and worthy NewYork institution. It was hea
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