The record-union. [volume] (Sacramento, Calif.) 1891-1903, 1899-03-05
HOPE FOR THE DRAMA.

John Gilmer Speed in the February
Forum" says dramatic conditions are
improving-that is, in the New York
atmosphere. Let it be hoped that Mr.
Speed is right IN this judgment, for
assuredly there are need and room for
Improvement. The most of dramatic
productions emanate from New York,
and their production must be there
| christened. In the last ten years New
York has been doing a sorry business of
that kind, however, and has spewed
upon the country with the stamp of
her approval an interminable lot of
trash, degrading to the taste of the
people. corrupting in moral influence
and disgracing dramatic art.
Some of the New York trash sent to
this coast as meritorious would shame
vaudeville dive. True, good deal
that is meritorious has come along, but
the great mass of dramatic production
in New York has moved upon a low
moral plane, and most of it has been
demoralizing, however refined a tone
may have been attempted in phrasing
the thought. Mr.. Speeds observation
is that there is now evidence of i'm
provement; rising up out of a de-
plorable condition; betterment in art
and in the character of matter given
art to fashion. He thinks commercial
ism is relaxing its grasp upon things
theatrical, and that the actor sees at
last light in which he may stand not
as "a hired man. but as an art worker
for arts sake, as well as his own. Once
Mr.. Speed despaired of Improvement.
He says:
The managers, 1 then said, were
merely amusement purveyors, with no
concern for anything else than the
weekly balance sheets. They are still
that, and nothing more. 1 ought to
say, however, for fear of being misun-
derstood, that the managers are not in
the least to blame for their attitude.
Ihey are business men, and as such
they would be foolish to measure a. play
or company of actors by any standard
other than that of the box office. But
this is very bad for dramatic art. The
business men who have become man
ayers are not to blame for what they
have done. They have merely taken ad-
vantage of opportunities that were Of
fered. The blameworthy are the actors
themselves, who have surrendered their
rightful place in theatrical control. If
they ever regain control, it will be
thr0lIoh bp Stol, icI,
emic theater which, in object. in per-
manency, in dignity and in character.
shall resemble the subsidized theaters
OF the Continent. The Improvement in
conditions from four, years ago is quite
marked Then sex problems were in
vogue; then every new ,play had I'M
chastity for its theme. The public must
have tired of alp this drivel and vulgar
ity; for in the new plays what there is
of this is subordinate. rather than ever
at the front. This is a very distinct
gain; and we should be grateful for it,
no matter whence or why we got it.
All which is comforting. But we an
prehend that the actors have not been
so much to blame as Mr.. Speed
charges. There is another influence
to be counted. that is the raw criti-
cism of the flash and yellow press
These have put the actors personality
before art and have jibed and sneered
at that which did not revel in half
nudity, physical and moral. The un-
dressed actress and the smirched actor
have had more attention from these
critics-save the mark-than anything
else connected with the drama. The
play itself has been subordinated to
personality. 1t has mattered very lit
tie what the moral atmosphere of the
drama as long as the production was
snappy'' and ''racy." If it has been
thoughtful keen, forceful. helpful and
uplifting, it has been voted dull, philo-
sophie, stupid, and lacking the spirit
of the age
The drama is viewed by this order
of critics in text and illustration as a
means of entertainment rather than an
agency of education, enlightenment and
inspiration. They have thus tainted
the public mind, cultivated a taste bad
all around. demanded the sensational