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[Illustration: OLIVER BELL BUNCE]
(1828-1890)
The name of Oliver Bell Bunce is not prominently connected with theAmerican Theatre. Authorities have taken little or no trouble tounearth his association with the plays and players of his time—themid-period of the nineteenth century. Yet they all agree that, asillustration of "parlour comedy," his "Love in '76" is a satisfactoryexample of sprightliness and fresh inventiveness. For this reason, thesmall comedietta is included in the present collection. It challengescomparison with Royall Tyler's "The Contrast" for manner, and itsvolatile spirit involved in the acting the good services of suchestimable players as Laura Keene, Stoddart, and Ringgold. In thecast also was J.G. Burnett, author of "Blanche of Brandywine," adramatization of a novel by George Lippard, also produced by LauraKeene.
"Love in '76" was given its première at Laura Keene's Theatre, NewYork, on February 28, 1857, for the benefit of the Shirt Sewers'Union; and was the second offering of a double bill beginning with"Faust and Marguerite." Though the critiques of the time recognizedin it a "nice little play," they balked at what was considered to bea foolish nomenclature, "Comedietta." What was liked about it,particularly, was the absence of patriotic fustian, for the nationaldrama of the time seems to have been loaded down with long flightsof fancy on the subject of liberty. Others hailed it as smart in thesocial sense. As late as March 31, 1892, the little play was revivedby amateurs for the benefit of a monument to be erected over theneglected grave of Washington's mother.
This was not the first time Bunce had appeared as a playwright. Therehad been seen, on June 10, 1850, at the New York Bowery Theatre, atragedy entitled "Marco Bozzaris; or, The Grecian Hero," and in thecast were J. Wallack, Jr., and his wife, together with John Gilbert.It was not based on the poem by Fitz-Greene Halleck, but, for itscolour and plot, Bunce went direct to history. For Wallack he alsowrote a tragedy, entitled "Fate; or, The Prophecy," and, accordingto Hutton, during the summer of 1848, the Denin Sisters produced his"Morning of Life," at the New York Chatham Theatre.
Such was the extent of Bunce's drama writing. His life was not cast inthe dramatic field, but rather in the publishing world. The playswere done in his early manhood. But he was pledged in interest to thetheatre, and there are many significant criticisms and descriptionsin print which convey an excellent impression of his attitude towardplays, players, and acting.
Bunce was a self-made man, with an excellent grasp of literature,which served him well in his various literary ventures. His mind wascast in channels of originality, and the history of book publishingin New York must needs consider the numerous suggestions, which,as literary adviser at different times for the houses of Harper andAppleton, he saw to successful fruition. In 1872, he became Editor ofAppleton's Journal, and it is to the files of this magazine we mustturn to extract his frank reaction to the theatre of his day. He wrotenovels, stories, essays, editorials, everything to win him the name ofjournalist; once he had a publishing house of his own, doing businessunder the firm name of Bunce & Co. He was always cordial toward everymove to further the literary inte