The success of the 'Contrast' was one of the powerful influences which aided in bringing about in this country a complete revolution of sentiment with respect to the drama and theatrical amusements. Up to the time it first appeared, the drama here had met with few friends, and but little favor. A single company of English players, the so-called first "American Company," after a long and bitter struggle with the intolerance and prejudices of the Puritan and Quakers, had attained some slight favor in New-York, Philadelphia, and some of the Southern cities; but in New England the prohibitory laws against all theatrical amusements were still in force and were rigidly executed. The Continental Congress, while not absolutely suppressing,[4] had set its seal of condemnation against the theater, so that the most reputable and law-abiding of our people were kept away from all theatrical amusements, if not from inclination, at least by the fear of deviating from the plain path of their duty. But immediately after the production of the 'Contrast,' a radical change of opinion in respect to the drama is apparent. Plays by American authors followed in rapid succession, the stigma against the theater gradually and completely faded away; and when the first citizen of the United States, the immortal Washington, attended in state as President to witness a first-night performance of an American play, the revolution was complete. At Boston a number of the most prominent, intelligent, and influential citizens assembled in town meetings, and passed resolutions instructing their representatives to demand of the Legislature an immediate repeal of the laws against theatrical amusements, and upon such repeal being refused, they subscribed the necessary funds to erect a theater and invited the American Company to visit Boston to give a series of performances there, which invitation was accepted. There was some interference on the part of the authorities, but the new theater was erected and performances publicly given there, while the prohibitory law became a dead letter. It will be noticed that the frontispiece is from a drawing by Dunlap, which must have been done by him shortly after his return from England, where he had been studying art as a pupil under Benjamin West. It was evidently intended to represent the portraits of Mr. and Mrs. Morris, Mr. Henry, Mr. Wignell, and Mr. Harper, in their respective characters in this play, with the scenery as given in the last act at the John Street Theater, the first season, but the inferior work of the engraver had made it of little value as likenesses.