THE CONTRAST
The Contrast is the second play written by an American, to be produced in America by a professional company. It is our first comedy, and while its central theme is the contrast between native worth and affectation of foreign manners it is of especial significance as introducing to our stage in the character of "Jonathan" the shrewd, yet uncultivated type of New England farmer which has since become known as the "Stage Yankee." The example of The Contrast in introducing a Yankee character was soon followed. In 1792, The Yorker's Stratagem, or Banana's Wedding, by J. Robinson, was based upon the attempt of the hero "Amant" to win the hand of the heroine by pretending to be a simple Yankee merchant. In 1807 Barker introduced the character of "Nathan Yank" in his comedy, Tears and Smiles. The first Yankee character, however, which permanently held the stage was that of "Jonathan Ploughboy" in Samuel Woodworth's play of The Forest Bose, or American Farmers. It was a kind of opera, originally produced at the Chatham Theatre, New York, October 6, 1825. The characters are all conventional but that of "Jonathan" which had some flavor of reality. This play was produced in London and as far west as California. The character of "Jonathan" was acted at first by Alexander Simpson and later by Henry Placide, G. H. Hill and J. S. Silsbee. The success of The Forest Rose doubtless encouraged others, for we find J. H. Hackett, the actor, first telling Yankee stories in plays of another character and then modifying Colman's Who Wants a Guinea? to introduce the character of "Solomon Swap" and under the title of Jonathan in England producing the play in England with success. Among the other well known Yankee plays were Yankee Land (1834) introducing "Lot Sap Sago" and The Vermont Wool Dealer, (1840), whose hero was called "Deuteronomy Dutiful." Both of these plays were written by C. A. Logan. Joseph S. Jones, a prolific playwright, created the character of "Jedediah Homebred" in The Green Mountain Boy (1833) and "Solon Shingle" in The People's Lawyer (1839). These Yankee plays are most interesting on account of their historical value. As we read them now they seem trivial and conventional and the Yankee characters are introduced into the midst of surroundings with which they have usually little to do. Their farcical character, however, made them definite and their homeliness of expression gave them an appearance of reality which probably won them their popularity. They point forward, of course, to a time when James A. Heme and others produced more significant work in the same field.
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