His plea, sound in its fundamental championing of the best that has been on our stage, might well be heeded at this time (1920).  It is a strong valuation of tradition—­the jade who is looked at askance by the amateur players of the “little theatres,” and too exacting for the average player on the professional stage.

Bunce was a New Yorker, born in that city, February 8, 1828, and dying there on May 15, 1890.

  LAURA KEENE’S
  NEW THEATRE,

  624 BROADWAY.  NEAR HOUSTON STREET.

MISS LAURA KEENE       SOLE LESSEE AND DIRECTRESS
MR. THOMAS BAKER      MUSICAL DIRECTOR

Change of Time.  Doors open at half past Six.  The performance will commence with the Overture at a quarter past Seven.

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  BENEFIT
  OF THE
  SHIRT-SEWERS’ UNION

  Sixth time of the Dramatic Poem, in three acts, entitled

  FAUST AND MARGUERITE

The Drama having been misapprehended by one or two critics, it is respectfully stated that the translation has not been made by a resident dramatist, as inferred, but by the celebrated European scholar and linguist, Jonathan Birch, whose translation has been recognized by Frederick William, of Prussia, as the best rendition of the original of Goethe’s Faust ever given in English to the public.

The play has been taken bodily from this translation, published by Black & Armstrong, London, and F.A.  Brockhaus, Leipsig, without any alteration other than is necessary to bring it within the bounds of an evening’s performance.  To produce the poem as written by Goethe, would require at least three nights in performance.  By reference to the edition mentioned, it will be seen that there has been no deviation from the original, except as above specified.

The fall of Marguerite, in the poem, is much more sudden than in the play, and, indeed, the exceptions taken generally to the drama concern the original author, Goethe, rather than the translation.  Great care has been taken to produce the play with strict fidelity to the author, following in the architecture, costumes and groupings the celebrated chefs d’ oeuvres of REIZSCH, who devoted the best years of his life to illustrate this great work; and it should be added, also, that every note of the music in this piece is from SPOHR.

  Music by Spohr, arranged by Mr. Thomas Baker
  New Scenery by Messrs. Hawthorne and Almay
  New Wardrobe by Mr. Bullock and Assistants
  Machinery by Mr. Smart and Assistants
  Properties and Appointments by Mr. W. Duverna

  Under the personal supervision of

  MISS LAURA KEENE.

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First time of a New American Comedietta, In two acts, by a Citizen of New York, entitled

LOVE IN ’76

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