The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1899-12-10
MOTIVES. MORALS AND MONEY

Some exception has been taken in theatre
cal circles to the assumption by General
Wallace that he consented to the staging
of "Ben-Hur'' ''only after consultation with
devout Christian friends and neishbors,
believing that if properly hone great
moral lesson might be shown Some have
taken this as reflection on other theatre
cal entertainments, in that since they
lacked the religious motive they were
therefore of immoral tendency. This, of
course, was far from being General Wall
lace's idea. He probably had in mind the
fact that among the readers of his book
were vast number of persons who are
not habitual novel readers and who took
up "Ben-Hur' only because it vas "a tale
of the Christ" Naturally, ne would CON-
clude that people who, for conscientious
or other reasons, are not theater-goers,
would attend dramatic presentation Of
his work for the same reason. That he
was correct in this theory was indicated
by the published reports of the first FER
Torrance, the audience being nude up
largely of persons not commonly seen N
theaters. But a correspondent OF Ihil-
adelphia paper points out that though Gen
eral Wallace is undoubtedly sincere in his
belief in the moral effect of his play the
men who have put up the $4,000 or $40 OUo
necessary for staging it were not solely
engaged in an effort to teach great moral
lesson, and may not have thought 1t neces-
sary to go into details with the author con-
corning their motives. They were quite
willing that the moral effect of it should be
good, but they knew that it would not do to
rely alone upon the religious character of
the theme; they could not depend entirely
for patrons upon the comparatively limited
class which is familiar with "Ben-Hur" and
regards it as great literature. They had to
have something to attract the common
herd or they would not get their money
back. Therefore, as the correspondent ex-
ted for stage use on precisely the same
amusement principle as that which forms
the basis of Aladdin or Chris" Mac
donough, the adapter of Aladdin, asserts
that the great majority of theater-goers
are business men and their families. These
men will not go, and therefore their wives
and children cannot go to shows that do
not entertain with quick action, bright
pictures. easily understood dialogue, and
generally speaking, snowy spectacular eff
fects And" he adds, ''all must be clean.
1 am not he goes on, laying this down
as a rule-without an exception, but gen.
eral opinion to the contrary notwithstand-
ing, the roads of provincial tours are
strewn with wrecks of unclean farces, sex
problem plays and your heavy but good
shows. It's an old story about how hard
and fast American business and profess
sional men work nowadays but it cannot
be kept too constantly in mind by play
writer's and managers. After such days
work men will go to the theater and take
their families only if they are reasonably
certain of having such entertainment as 1
have indicated The New York CORE
spondent thinks the dramatic version Of
"Ben-Hur'' was based precisely on these
principles. "It is a snowy spectacle, with
Ddfiet, Idce Scele, III Hills icSSoOS' iio'i|'
lights and all the elements requisite to be
classed in honesty with Chris wherefore
the same manager put up the respectable
fortune required for it's production. 1t is
NICE" he adds, ''to know that General Wal
lace looks to it for great moral lessons,
but if it were what he fondly believes it to
be it would have gone begging the length
of Broadway, seeking a manager in vain!'
In other words, the public does not want
to be taught; it wants to be entertained.