Lately a great deal is being said and written about first-night performances, "premieres," which have been nothing very rare in every season. But the talk concerns only the two or three recent years, as if prior to that time no original play had ever stumbled upon our stage. But the fact is that such events were an unfortunate hobby of our theatrical world many years ago, and original new plays, translated ones, and also otherwise adapted and adopted ones were being played in our theatrical halls in times when our theatrical efforts were just learning how to walk without stubbing their toes. Even if at that time they were not called "premieres"--or, if they were, that word was not in such a general use as now--"premieres" they were, under any name. Anyway, that makes no difference. It will suffice to say that "homemade" new plays were finding their way up to the stage even more frequently than in the present "premiere" times. Of course, they were mostly nothing but translations, which in those days were being manufactured almost in the short-order way. This spirit of enterprise should not be lightly discounted, because many a good translated play has appeared on our stage 2in that way, and the interesting part of it is that more than one of the popular "strong" plays had been performed here before it appeared in print in Bohemia; in other words it had become acclimated in Bohemian Chicago earlier than in the old country, though it may have had its "manuscript premiere" there perhaps before it was performed here for the first time. As examples let us recall "Dva Sirotci" (Two Orphans) and "Nevinne Odsouzen" (Sentenced, but Innocent), which last was played here under the more literally translated title "Slavna Pravni Pre" (The Famous Court Trial). There were others that do not come to mind just now. The two plays mentioned were translated by one of the earliest Chicago amateurs, Captain Barcal, who in the years of his activity translated enough plays to fill a year's repertoire. Among them were also a number of American plays which are no longer considered shining examples of dramatic literature but which were very popular many years ago. Of course, most of them were plays at which the public could not help having a good cry, because a show which did not give the public an opportunity to cry over the fate of the heroine, persecuted at least through five acts and several changes of scene, was not worth putting on. Here it is necessary to recall that the repertoire of some thirty 3or forty years ago consisted principally of tragedies and serious dramas which needs must have been played in period costumes, and of so-called "scenes of peasant life," some of which at least were deserving of longer life. Light comedies were rather the exception than the rule, not because the public did not like them, but rather because the amateur actors wanted to put their teeth into something "substantial," once they made up their minds to play. And tragedies of a historical character were the most popular and had an added advantage because they were helpful in promoting the national spirit in the young Bohemian colony of Chicago.

Hence also the first-night, newly translated plays were mostly of very serious character and the old-timers maintain that they were very popular and frequently repeated. Also it would seem that there were two of what could be called new-play factories, one in the Sokol on DeKoven Street, the other in the Jednota [Translator's note: Meaning "Union," no nearer indication given, but most likely a benevolent organization with headquarters] on Taylor Street. The principal "manufacturer" in the Jednota was Barcal; in the Sokol, Eda Uhlir. Uhlir was 4the more active and deserving one, even if his name has long been forgotten, but these two were not the only ones. We could add a long list of amateurs and theater-lovers who were active in playwriting and translating, and who would be deserving of mention in any history of the Bohemian theater in Chicago. Some old theater fans may have remembered Uhlir when "East Lynne" was being played here recently. That play was performed in his translation more than thirty-five years ago, and one of the best amateur actresses of those days, Frantiska Petrtyl, played the heroine. She died many years ago.

In addition to translation, several manuscripts of which can still be found in the library of the Slovanska Lipa ("Slavic Linden", name of a Sokol unit) and which are deserving of preservation as interesting documents of times passed long ago, there were several attempts at original plays which, of course, were not always so very excellent, but even these would not be lacking in interest these days, even if they are just as unsuitable for stage presentation as some of the works of our contemporary "dramatists". We recall one of these "premieres" the credit for which (or guilt, we don't know which) is due to one 5of the earliest theater directors and enthusiasts, J. Papez, who, at least in honest effort and unselfish interest in theatrical matters, was more than equal to many who had been before or came after him. An extremely good man, somewhat nervous, who had the peculiarity of promising every amateur actress who was reluctant in accepting a part, that he would give her "a beautiful blue dress" to play in if she would agree to take the part she did not like. Some thirty-five years ago the idea came to him that he also should write a play. With the help of a story found in some yearbook, or newspaper "calendar," or almanac of one kind or another, he created the magnificent drama "Cinadrove Kralovice" [Translator's note: Name of a very small town in Bohemia]. The story must have hailed from a source of that kind, because the Zlata Praha (Golden Prague [Translator's note:A literary monthly appearing in Prague]) was not being published in those days, but the play was not any the worse for it. It had many acts, and still more "changes," but it drew, because there are many people here from Kralovice who were longing to hear something connected with their old home town. Unfortunately, the story in the yearbook must have been very long, and therefore it was impossible to squeeze all of it into the play, no matter how many acts 6and "changes" it had. But it was performed, and, in the opinion of experts, it was something of a success, even if it was rather long. It was long even for us who were accustomed to coming home from a play after midnight in those days.

The present "premieres" are quite different, but even yet, many of us love to call the old ones to our memory when the thoughts wander back to the past of Bohemian Chicago.