The Seattle post-intelligencer. [volume] (Seattle, Wash. Terr. [Wash.]) 1888-1914, 1899-11-27

THE STAGE.
Under the heading OF what Is the
Mission OF the Stase?s the Boston
Globe prints the ideas of James A.
Herne. Sam Bernard. Andrew Mack.
Denman Thompson. Felix Morris and
Miss Lillian Lawrence. Although these
artists are not the most noted opponents
OF their profession. their opinions are
worthy Of notice. Mr. Thompson thinks
that the duty Of the stage Is merely to
present good. healthy amusement to the
people, but the rest say that there is q
higher duty, and that any production
that does not present the purest and
highest ideals ces0es to be . work Of
art.
1t would be better for the world il
our actors realized the immensely Of
the influence they cast. But most Of
them do not. hence we find many pro-
ductions that do not tend TO elevate the
atmosphere Of the stage. and because
Of this 1, can be Justly criticised.
To those who put aside all prejudice
II is apparent that there is no depart
ment Of art that casts SO great an in
fiuence over the general public as the
stage; and there Is no reason why this
influence should be bad. Many people
never read q book at home. but they
dc go to the theater. Now. if they see
only productions Of the very highest
literary value, will they not become so
accustomed to these that they will scorn
the inferior? II this is not true. why
has Richard Mansfield made his great
name? Since he became q star he has
never once produced a play that did
not have genuine literary merit. There
Ii no word or sentiment In ''Cyrano De
Aergerac" that Is not lofty and elevat-
ing. and yet no theatrical production
ever won more hearty applause. Sir
Henry Irving chooses for his repertoire
the works OF the worlds greatest art
lists. and every one loves to hear Sir
Henry. Nat Goodwins plays are never
anything but sweet and wholesome.
Joseph Jefferson has won for himself
. warm place in the hearts of all peo-
pie. and yet there was never anything
in his plays that would harm the ten
derest child. Then why is it that we
have unwholesome plays?
Some of the greatest sermons of the
world are preached before the foot
lights. Can any one see a fine produc-
ton Of Macbeth" and yet not realize
the dangers OF ambition? Or can any
one listen to olga Nethersole as Camille
and envy the courtesan her life?
There is q physiological side to the
question. No actor can make an audi
ence feel an emotion that he does not
experience himslf. II the emotion be
good or lofty and the actor succeeds in
carrying his audience with him. he will
perhaps make many Of them feel what
they have never felt before. He may
have opened their eyes to a new phase
of life and awakened new sympathies
BY doing this he has broadened their
lives. and what they have felt once they
win more readily respond to the next
time The memory Of that emotion will
live with them always. 1t is easier to
make a man laugh than cry. and many
people whose hearts are stony shed
tears in the theater. and one realizes
that there is some good in them after
all.
So many young people use the char
aeters Of the stage as their ideals.
which is all the more reason why the
tone OF the play should be wholesome
and IT'S literary style as near perfect as
possible. People In general are mimics.
and only the best In the drama should
be put before them.
The church usually reaches but one
class of people, but the stage reaches
all classes, As an educator its scope IS
wide. and as molder of human char
ae:er It's possibilities are not limited