The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1903-09-20
THE STAGE AND RELIGION.

The pulpit has much less room for criti-
cising the stage than formerly. for. as it is
now, one whose taste turns that way may,
in the course of a season, attend many
plays based on some religious or moral
theme or conveying moral lesson. Opin-
ions may differ as to whether such plays
should properly be classed as amusements
or not, but at least they belong to the dra-
matte world. The Journal is acquainted
nation Of circumstances rather than by his
own choice, confined his play-going last
season to "Ben-Hur.' 1.-The Sign. OF the
Cross" "Everyman," MARY Of Magdala"
and Julius Caesar" The last named. while
not precisely of religious tendency. is
theater-goer felt. when spring came, that
he had had no dramatic amusement what
ever with the exception Of that offered by
the funny chariot race in "Ben-Hur." But
that a great many people do find enjoyment
and genuine entertainment IN plays which
have drawn their theme from religious lit
erature or touch in some way the religious
or moral emotions is shown by the great
success of nearly all such plays. They last
season after season. and draw large crowds
with each temperance. Sometimes the
religion is more a matter of title or In
ference than reality, as 1.-The Christian'-a
mawkish tale; but the emotional interest
shrewdly Incorporated in it insures Its
popularity with large class Of people.
Whether there are any new plays with
religion or the pious emotions made an in
territorial element the Journal cannot say.
but 1t seems, according to accounts. that
suggestions Of the sort not lacking in
productions not originally meant to cater
to the class ordinarily caught by the So
called religious drama The thing, it
seems. which holds the unbroken atten-
ton of the New York audiences in the
presentation of Stephen Phillips's poetic
drama, Ulysses" is the spectacular and
fiery hell given in realistic detail accord
ing to orthodox tradition. The scene lasts
for twenty minutes, during which the spec
tators sit fascinated and shuddering in
spite of themselves The most ardent re-
vivalist of the old school could not do bet
ter, it would seem. than to recommend his
hearers 10 see this feature of Ulysses"
by way of an impressive object lesson. This
Is not ALL however. As the Journals New
York correspondent says in Lis letter on
another page. two of the lighter produc-
tons brought out this week present drunk
enness In a form so realistic that II serves
| as temperance lesson. in one case Of
such immediate effect as to decrease the
patronage CT the neiShboring bar.
All this goes to show either that the
| pulpit is having Its influence the stage
or that theatrical managers are wise
enough to discover that certain part of
the public which regards the lighter class
OF dramatic performances with some dis
trust will patronize plays having flavor of
piety.
No, the religiously inclined cannot COM
plain that their tastes are disregarded by
those who provide the entertainments. They
and the other class which is satisfied with
melodrama. vaudeville the pretentious
musical comedy" whose chief feature Is
| the twinkling legs of the chorus. are am
ply catered to. It Is another element OF the