The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1884-10-05
WHAT DRAMATIC ART NEEDS.
A Theatrical Managers Ideas About the
Public Demands
New York Times.

Public Demands
New York Times
"What is the matter with the theatrical bust
ness?" a well-known manager was asked day or
two ago.
''Wel there's a great deal the matter with it"
he responded, ''The chief trouble with it just
now is that there is not much money in it"
II know that. Why there is so little money
in it is what want to know"
"Well, if you'll ask all the managers in the
city they will answer you by asking; What do
you expect in a campaign yearF'
"3ut is not that a serious injury to the bust
ness2n
'It is an occasional injury I mean by that
that once in four years an enormous amount of
money is spent in the campaign show business
1t is asserted by many that this does not injure
the theatrical business, because it does not as a
rule, come out of the pockets of the theater
going public. That is a mistake Any unusual
expenditure of money Injuries amusements."
But do you not think there are artistic rea-
sons for the depreSslonP
II certainly do. 1t has seemed to me for some
time past that the amusement business is in a
trasition stage [ don't pretend to know what
is coming out of it, but am sure things are not
going to remain as they are. There is only one
theater in New York at the present time which
has an absolutely settled cGentage A few years
ago every theater had this. Managers are try
ing all kinds of experiments to bring the public
in. They don't seem to know just what the
public wants. [ am not quite sure that the
public knows itself 1 can point you out one
tiling-we don't have any more runs of FIVE
and six months We don't have any more
such successes as The Two Orphans Les
Dauchefas' The Shaughraun,' 'Pioue' Di-
plomacy' or Led Astray' You may say that
we don't produce any more such plays. 1 admit
that, for it strengthens my position. The for
eign dramatists are undoubtedly the best They
are, as a rule, men of distinguished literary
ability, who have adopted dramatic writing as
the most remunerative department of letters
Their works have been of distinct artistic value
To-day they write little that is good. Some of
them have taken to revamping old and forgot
ten plays. That doesn't look promising for dra-
matte art does It'll No; but the public doesn't
care. Between you and me and the lamp-post
as the old slang has it, the public doesn't hun
ger and thirst for good plays. What appears to
be wanted to-day is something light and comic
The great dTamatists do not produce that kind
of work. They write plays of Contemporaries
Gus human interest," filled with Earring conflicts
of emotion that wrench the auditors soul
and send him home in a more phiosophic
mood than he is wont to know There is no one
who can write good comedy. The public goes to
see the trashiest kind of burlesques and farces
The public wants fun. There can be no ques-
ton about that. You go around to the theaters
and note where the biggest and most enthusi-
the trashiest shows You and wonder how on
earth people can stand such stuff
But, take a look at the audience. Do you
find the best people PRESENT. Do you find an
auulehce representative Oh uhe culture ana lntel'
igence of the people? Not at all. And yet it is
to the culture and intelligence that we must look
for the permanent support of the theater The
present rubbish is driving these people away
from the theater. They have got to be
brought back somehow Now, as l said this is
a transition period, and L can't tell what is com
ing; but can give you my opinion as to what
should be the natural outcome We want a class
of entertainment that will satisfy the demand
for comedy aud at the same time please the cul
tured people. There is but one kind of play that
l know of which will do this. [ mean the stand
ard, classic comedy. 1t is long time since one
was written We have not a dramatist living
to-day capable of producing such play as The
School for Scandal or The Rivals That is the
kind Of drama we need, modelled, of course, on
the life and feeling of the times. When the
dramatist arises who can write that sort of thing
as think he eventually must, we shall have full
theaters and prosperous managers 1 am going
to try to live until that time"