Cambridge History of American Literature: volume 3
Trent, William Peterfield, 1862-1939., Erskine, John, 1879-1951., Sherman, Stuart Pratt, 1881-1926., Van Doren, Carl, 1885-1950., Ed.

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[588] He also entered into an expensive contract with the actor Haase, who proved a disappointment on this his second visit. Moreover, the popularity of Marie Geistinger stood in his way. Never before or after was there such a favourite in the German theatres. Her versatility was marvellous. She could fascinate with her singing in light operas, Der Seekadet or Die schone Galatee, and on a succeeding night thrill an audience with her Kameliendama or some other tragic role. Neuendorff deplored the fact that she was too willing to yield to the popular taste for musical comedy, and that her great influence was leading New York audiences away from the classical drama. But the impending failure of Neuendorff was also in part his own fault, for he and the rival Thalia Theater had perverted the taste and increased the expectations of theatre-goers with an extravagant array of stars, speculating upon their curiosity and eagerness for the new and sensational. Both theatres were obliged to close their doors in spite of many striking successes. The next leader among theatrical managers was Gustav Amberg, who took over the Thalia, and subsequently in 1888 founded what was long the home of the German drama in New York, the Irving Place Theatre. Amberg started with a stock company of very indifferent merit. They could not play up to the stars (Gaste) whom he occasionally invited. Nevertheless, at the close of the season of 1887-1888 he presented a ‘Gastspiel’ which has probably not been surpassed in the history of the German stage in America. It was the double-star cast of Barnay and Possart, when Barnay appeared in the roles of Hamlet, Uriel Acosta, Karl Moor, Wallenstein, Tell, and Bolz, with Possart as Polonius, De Sylva, Franz Moor, Buttler, Gessler, and Schmock.

A step forward was made in the history of the German stage in New York when Heinrich Conried in 1893, on the invitation of Henry Steinway, assumed control of the Irving Place Theatre. Deeply impressed with the failures, both financial and artistic, which the starring system had produced, and an interested witness of the reforms which the Meininger company of players had brought about in Germany, Conried proceeded to build up a well-matched company of resident players, whose aim was not individual display of talent but an harmonious ensemble with the purpose of interpreting the genius of the