The Providence news. (Providence [R.I.]) 1891-1906, 1896-04-24

Money Lcudcrs Debating the Policy OF
Theatrical Managers.

Theatrical Managers.
"Stagc realism % seems to have run
mad of late. Realistic surroundings
greatly stimulate an actor and thorough
ly impress the audience. But what would
be .tenencial II employed In moderation
y becoming a positive detriment to the
stage by Its being used TO excess. Whst
J particularly refer to, save q New York
tierald writer, is the realism run mad, I"
that one sees In the stage Turn lshings OF
an ordinary production at Daiy's, Palm
er's, the Empire or other leading theaters
OF New York. II involves great and use-
less expense, without adequate compensa-
ton To manager or public.
Take Liberty Hail." lately vt the EN-
pire fheater. Did the public derive any
satisfaction from the fact-did they even
know lt-that IN the bookstore scene ell
the volumes on the shelves were genuk1e
books. That in "The Masqueraders" at
the same theater the bar fixtures were not
stage effects, but genuine fixtures, mado
though for a genuine ''puDlic house, I"
to stand years OF wear and tear? At Mr..
Daly's, In 1.-THE Countess Gucki,n was
the delight of the audience added to by
the fact that the spinnet seen on the stage
is marvelously fine example OF old-tine
wood inlaying made by Wolfe In the last
century, and that the music look lying
open so careIessly on the spinnet's music
rack is an extremely rare old print? When
you saw the "Princess Paragon" you
doubtless thought the office scene was q
very pretty interior. You are probably
not aware and have therefore taken no
special comfort out Of the fact that those
tapestries on the wall were genuine, end
that the wainscottings were not stained
wood but Imported carvings, and that
that one interior cost nearly $40, 900. /
might multiply examples almost in
definitely, but these will serve as q text.
What is the result OF all this foolish ex-
travagance? Other managers go and do
likewise and competition has begun be-
tween them, not only as TO which shall
make the weaithiest display of silks and
satins upon the women of the play, but
which shall offer the most gorgeous dis
play OF genuine furniture and costliest
bric-a- a-brac. Perhaps you can say that II
manager and his money are soon parted
In extravagance of this sort, 1t Is not the
business OF the public; II Is merely so
much the worse for the manager.
1t is very much the business.of the pub
lie. 1t is not only the extravagant cos
tuning OF the actresses OF today, but
the foolish fiinging away OF money in
stage furnishings that is draining the
purses OF some of the competing mana
gers. In their financial distress they sre
forming partnerships with illiterate men,
tors, and who eventually have . COM
manding voice in the conduct OF the
house, tie selection Of plays, the choice
OF actors, and what the public shall not
have provided for them.
These men are really nothing but the
atrical money lenders to the profession.
The money they lay down enables the
running OF more millinery bills, the pur-
chase of more costly antiques for the
drawing room sets, the continuance OF
the fast pace the manager has been GO
ing. But In thscend the obliging money
lender get as thorough control of the
extravagant manager as mis- brother money
lender does OF the young rake at the club
whose bills he has been discounttng.
The screws are put on the one as well az
on the other. The social spendthrift il
made to pay ;his family or any eligible
young girl and Grace Church wedding
keep him out of Ludlow street. The
theatrical debtor surrenders his stage to
the dictates OF his financial bscker, and
the theater thereafter Is run for nothing
but the dollars and cents that may be
in anything, good, bad or indifferent,
and usually decidedly bad that comes
along ana will bring money to the box
Office.
The public have no idea to what extent
these specutations now control the the
atrical business of the country. 1t iias
already lowered the tone of the stage In
America, has fostered and built, mp the
realistic" sensational drama, has broken
up the admirable stock companies which
the principal cities used to maintain and
enjoy. These spectators have doubled
and trebled the salaries of men and
women who composed legitimate stock
companies, have bought them up and sent
them into the horse drama, the tank
play and the dynamite melodrama OF the
dav.
Ii any one doubts that he has only to
look for the we'll known actors and act
resses who graced the Legitimate comedy
stage few years since, who spoke the
lines OF Shakespeare, Goldsmith, Sheri-
dan or the more modern authors of fine
ability, and who are now talking dra-
matte rubbish to the galleries in some
magniticently mounted sensational melo-
drama at ever so much Q week.