The Houston daily post. [volume] (Houston, Tex.) 1886-1903, 1898-02-13
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A SHOW AND A MORAL.

| ".
There was theatrical attraction at the
opera house In this city Friday night and
yesterday that justifes short editorial
sermon for sunday. on tho decay OF the
stage In this country -not In the way "
talent, but In the prostitution OF talent
This show was OF the common but popu-
lar order Of musical farce comedy. a kind
Of entertainment that has almost inonopo-
Jlzed the stage Ia the past few years. The
Looplr In the cagt were excellent in their
way. indeed, above the ordinary. The fun
was fast and furious and the audience nr-
pIauded continuously and enthusiastically.
And ypt there were scenes and specialtics
introduced in n atylc that was, or ought
10 have been, offensive 10 good taste and
morals--not because they were worse than
we see weekly, or than are secn In every
playhouse In every city OF the United
states but because they represent and
cater TO low moral tone and constitute n
common typs OF theatrical entertainment.
Tho trick consists simply IN "sugges,iye-
neps"--thc most dangerous and insduons
| form OF corruptng the public taste.
We have become 80 used to tights on
| the stage that they cease TO create ripple
OF excitement To reach the blase crowd
now, tho manipulation Of the skirt In an
| immodest manner has become necessary
| soubrette can not sing n song without
some questionable or broad lines, followed
| by the Cssy Fitzgerald wink and the
| fvctte Guilbcrt suggestiveness In the
handling OF tho crinolIne. The worst re-
Election about the whole matter il that tho
| actress who puts her specially on In the
modest way meets "a FROST" while her
more daring aud reckless colaborer Is
brought back again and again. at the de-
mand Of tho audience, to flaunt her
naughtinoss and display her anatomy And
the demand is by no means confined to the
gallery The fact leads the theatrical
manager to answer the critic that the
public want that sort of thing!"
And indeed. II looks like It,
Possibly both tho public and the caterers
nre TO blame. The former applaud and
the latter eneroach more and moro upon
public tolerance. This growth Of in-
morality and lndecency upon the stage
calls to mind wildly the old line with ref
ercnce to the danger of fanilil lily with
sn--"We first endure, then pity, then en-
| brace"
But where Is the remedy? The dramatic
critic is regarded as "a back number" who
reads homily on morality In criticism
Of features that are now universally seen
and cordially applauded on the stage. He.
too has been swept "up to date" along
with the public, and II only the work of the
stage caterers ho well done then adverse
comment is sllenced. II Is so In the head
centers and II is so In the country gem
orally Occasionally too risque or bra4on
feature is seen and condemned, but so
long as large audiences everywhere are
seemingly pleased with gross exhibitions
we may expect the stage to furnish them.
People leave the tbeator and criticise. but
they have gone there and they have laughed
and applauded!
And they Will 80 again'
The only hope is that familiarity and
safety may lead to disgust after awhile
and TO a demand for revival OF the older
and better and purer attractions of the
stage But the reform will have to start
on the metropolitan boards