[ Gentleman's Magazine ]
The Gentleman's Magazine was an important and influential monthly magazine in the 18th and 19th Centuries; it began in 1731, ceased regular publication in 1907, and shut down completely in 1922.
The issue of January 1804 had a substantial article which attacked, without directly naming it, the recent play The Caravan by Francis Reynolds, which attracted a great deal of notoriety for its use, on stage, of a Newfoundland dog leaping into a large vat of water to rescue a 'drowning' child. The Caravan's success triggered an outpouring of critical commentary, much of it focused on how the sensationalist aspects of this work played down to low-brow sensibilities and thereby 'cheapened' the theater. Francis Reynold's play The Caravan is discussed here at The Cultured Newf, and the critical reaction to it is also covered here at The Cultured Newf.
After pointing out, without specifics, that the use of animals in theatrical work was first tried "nearly a century ago," the author goes on to argue that back then, people simply weren't interested in works "without some decent proportion of the human species on the stage," and so the practice died off:
The record of it, however, remaining in print, the manager of one of our theatres lately laid hold of it, studied it with great attention, foresaw the possibility of success, and the strongest probability of profit, and determined to attempt a revival of the scheme, by adding a Newfoundland dog to the other performers of a new Opera, which was, in the theatrical phrase, to be got up with all the strength, not only of the house, but of the kennel. An author was accordingly employed who could write a part suited to the talents of this dumb candidate for public applause; and a fable was invented such as might exhibit a dog to the greatest advantage. How well the scheme has succeeded, the most crowded audiences of modern time, in the largest theatre ever built, have amply attested every night since the first appearance of this bold project.
The author claims not to be opposed to the use of animals in drama, though his sarcastic tone in suggesting that some day dogs may replace all human actors, and that use of canine actors will allow theater owners to save lots of money on actors' salaries, indicates otherwise. He also claims that dogs on stage will prompt the human actors to always be "more on the alert, and more desirous to regain their popularity, snatched from them by an actor who will not be reasoned with, and will admit of no improper liberties." He also remarks that criticism of canine actors will require no other alteration of critical vocabulary "than the introduction of the words sagacity and fidelity a little oftener than has been customary."
One other comment of note: the author remarks, regarding the addition of canine performers, "The trial, however, is but begun; and one dog only has been formally engaged." Which suggests that The Caravan was indeed breaking new grounds in its use of a dog in a prominent role.
The essay concludes with this bit of snark:
... what sublimity of feeling, and what closeness of attention, can the present drama produce, compared to the hopes and fears of an audience, when they shall be treated with the novel spectacle of real tigers prowling for real prey, or the more extraordinary appearance of a real lion sparing a real virgin?"