But it is perfectly natural in view of the long period of indifference towards anything like the drama that the classical Spanish dramas, the masterpieces of Lopé de Vega and of the inimitable Calderon, did not immediately find their way upon the stage of Havana. The audiences had gradually to grow up to their standard and the directors of the enterprise wisely refrained from forcing them upon a people that had so long been ignorant of the strides Spain had made in the interval since their ancestors settled in the New World. Hence the repertoire of the theatre of Havana towards the end of the century catered to the Spaniard's love of music and favored the best comic operas then produced in the theatres of Europe. The ballet was very popular, as it was everywhere at that period. But that subtle observer, M. Masse, was not favorably impressed with it. "The ballet is of that kind which carries far the art of varying the most voluptuous attitudes and the expression of the least equivocal sentiment." He suspected the fandango, supposed to be typically Havanese, of being originally a negro dance, saying "The difference is in the embroidery, which civilization, or if one wishes, corruption, has introduced." Very popular were at the time little comedies of domestic life, called Saynetes, and offering pretty truthful pictures of social customs and habits on the island, and especially glimpses of the society of Havana. A Cuban writer of the period, D. José Rodriguez, is credited with the authorship of a comedy, "El Principe Jardinero," The Prince Gardener, which by its complicated plot held the attention of the audience and was performed with great success in 1791. A comedian of considerable ability and fame, then very popular with the Havanese, D. Francisco Covarrubas, was the author of farces, which were very warmly received and drew large audiences. The theatre of New Orleans, much older and better equipped than that of Havana, sometimes sent its company of actors for a short season of more serious drama. Among other plays which this company produced was the tragedy "Les Templiers." Although undoubtedly still in its beginnings, the theatre of Havana was upon the whole doing good work. Anglo-Americans who visited Havana about the century's end are said to have admitted that it was superior in building, stage setting, acting and music to the American theatres of that period.