The morning news. [volume] (Savannah, Ga.) 1887-1900, 1898-01-30
FIRST NIGHT AT THE PLAY.
A Notable Audience Gathers on Such an
Occasion.
thing About
the Ronncts and Co.

querors and the conquered. and there are
the tragedy and the comedy. the scene of
death, ana the scene of loVe-ma king and
last of all, love triumphs over death Rut
underlying everything else there is the con-
seriousness that between the people in the
audience and the people on the stage there
as close tie; that we on the other sida Of
the curtain love these stage folk wen
enough and sincerely enough to wish that
they may be successful in their work. and
when 1t Is all over and we drift out into
the wide corridors and stand chatting and
waiting for the carriages at is invariably
OF the good points that we speak because
we know the clever manager will to-mor-
row make the play strong wherever il is
weak and intensity all that which is best.
1t Is good when among hundreds of people
SO strong feeling of loyalty toward those
VINO make amusement for them can exist
Tor 1t is an evidence that among a nation
SO nckle in its regard as we are. such low
ATTY as Is known among the English and
the French is growing. 1t is such loyalty
that lncites the painter TO do better pic
lures, the writer to do better work and the
actor to play his part better 1t is this feel
ing that is going to make the right in art
triumph over the wrong
fou laugh about there being any right
or wrong in the playhouse. Why. look at
the right and wrong actions merely among
the audience! There are so many things
that nothing will excuse Nothing excuses
loud criticism of the play, especially an
unpleasant one. 1t is true that you may
nave paid your money, but you can take
your choice, and if you do not like The
play you can go home
Nothing excuses the overwhelming of
delicate women with the strong perfume
or cigarettes and possibly of something
else. You have a perfect right to drink
w a nni,.
fifteen minutes before entering the theater
Nothing excuses the incommoding of
one s neighbor with big cloak and trou-
blesome hat, and nothing except news Of
a sudden death or Illness excuses the 60
ing out between the acts.
Nothing excuses the quoting in a loud
voice your acquaintance with an actor
The world at large doesn't care who you
know. 1t only wants you to behave your
self
Nothing excuses loud yelling for the au-
thor or manager or pounding with UNI
brellas or sticks. Applause, properly Civ
en- Is due to the artist, but that should be
limited to the usual quiet bringing togeth-
er of the hands.
Nothing excuses ungloved hands. yelled
faces, untidy toilets or bad manners at
the theater, for unless you know Just how
you should look and just what you should
do, home is the best place for you until
you have learned the various ''donts" of
social life. You think l am hypocritical?
No, am very forgiving, but | know how
hard the actor works know how eager
is the play writer TO have every word
properly understood and how a badly be-
haved audience can make the actors work
good for nothing and the writer's work
seem as naught. Therefore / never ex-
cuse bad manners at the theater. They
are counted among the objectionable sins
on the very short list of things unforgiv-
en- by Bah