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NOTHER epoch of importance in the development of the dramatic form of amusement in Brooklyn is marked by the year 1895 and the opening of the Montauk Theater. It is twenty years since the last, and that was the turn in the tide of affairs at the Park Theater, when Manager Wm. E. Sinn lifted that house out of the gutter of failure into the road of success, shortly after the opening of the Brooklyn Theatre by Mr. and Mrs. Conway. In that year, 1875, theatrical amusements in this city had got very low in the public esteem, and New York City offering something that had at least the glamour of novelty and ability, Brooklynites in search of theatrical entertainments found it easy to go there for them, and at the same time reconcile their conscience with the boast of local pride. All this was due in a great measure to the provincial treatment given to this city by those who assumed to provide it with dramatic performances. With one or two exceptions, what was not good enough for the metropolis was the very thing expected to win favor in Brooklyn. When something worthy of patronage here was brought hither, it was usually saddled with such highly increased prices as to keep it outside of the reach of the people. At the very best, a metropolitan success never came to this city unless it was with a new company much inferior in the scale of ability to the one which had won the triumph across the river. This insult to Brooklyn intelligence is not uncommonly offered even at this late day. Managers Sinn are the only ones who insist on original companies; in fact, they have broken many objectionable practices in the theatrical business since they came here. They have done it, however, without reflecting upon anyone, and have merely followed the line of policy which, in their humble opinion, was the best for Brooklyn. If they have met with opposition it has only intrenched them more strongly in their determination. The oft shaking of the cedar fastens it more at the root.

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One other thing very generally recognized is that first-class theatres are best conducted by men of experience, who are not actuated by mercenary motives; such places of amusements, however, are not run merely as pastimes to their owners, and-like the dry goods merchants or the house builders, who help a city to grow-managers are in business to make money. But if such men have due regard for the dramatic needs or wishes of the public, and proper consideration for the moral welfare of those who patronize the drama, they are held high in the esteem of right thinking men and women. To gain such a reputation, not a mere bubble in our day, is the aim of those who are the managers of the Montauk, after more than three decades of work in the front rank of their profession, including twenty years of flattering success at the Park Theater in this city, and they may be pardoned if they feel that they have not striven in vain and are proud of their achievements. The temptations to stray, for the purpose of larger receipts, from what may be termed the path of Managerial Conscientiousness, are numerous and great. Public curiosity, insatiable and enthusiastic, demands many things theatrical that are not conducive to the refinement of a community, and to exclude these from a list of attractions is recognized by the public and the press as a requisite to the degree of honest citizen, and a quality to be encouraged. This encouragement has been especially forthcoming in Brooklyn, and its constant presence at the elbows of Managers Sinn makes it certain that they will endeavor to make the new house worthy of the developing city in which it stands, and of the intelligent people to whom it appeals for patronage.


Many requests were made of Managers Sinn to have the seats for the opening night of the Montauk sold at auction, but they were refused, Managers Sinn preferring to give everybody a chance to get seats at the regular prices.

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