The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1903-05-31

The real explanation, as it appears to
The Times after much reflection, is not
compliment to the community. 1t is
that intellectual interest in such works
as these is comparatively slight in
Washington.
Our people-who ought to be the most
appreciative and ardent supporters of
good plays in the entire country-do not
care enough for them actually to brave
rise of five degrees in temperature or
think OF them seriously when such al
ternatives are offered as The Runa-
ways" When once spring has come
their minds insist on rest. They suffer
intellectually sort of reversed hiber-
nation. They have probably done too
much thinking in the winter. Too much
mental exertion was required to attend
one performance OF Julius Caesar" one
performance of Hamlet" one good
opera, and a thousand unworthy prob
lem plays So with the new leaves and
the bright weather all matters of the
mind must be put aside. Elsewhere this
is called 1.-The fool season" But in
Washington, apparently, that term is
needed to describe the main portion of
the theatrical year.
The Crime and It's Punishment.
IL the course of a few years Wash
ington will suffer fine punishment for
this Miss Galland's audiences in
cluded number of theatrical man
ayers drawn hither by the extraordi-
nary press notices given her enactment
OF Juliet. Those gentlemen sat before
the footlights divided between wonder
a. this young actress power and the
lack of support given her. When their
bookings are made up for succeeding
years is it to be supposed this lesson
will be lost? No; it will be carefully
borne in mind. Then the National and
the Columbia and the Independent the
aters will be avoided whenever there
are open dates in CITIES like Indianapolis
and st. Joseph. Washington will have
the proud distinction of being classed
with New York. Every prominent actor
will be glad TO appear here. but only
those companies will count on hnan-
cial support which can rival The Run
aways'' or emulate THE Rogers Broth
ers"
One of those managers expressed him
self freely on the subject while in
Washington. AS he saw 1t, the present
state of the public mind in Washington
was lamentabIe. The only way our people
like those OF New York, could be per-
suaded to see decent things''-the
phrase is his own-was by coupling such
things with the names of actors in high
personal favor. So that when Julius
Caesar" or Hamlet" was presented our
people would go. not TO hear the lines
of the play or delight in its dramatic
merit. but to see the chief actor dis
port himself in a new set of costumes.
Box Receipts versus Decent Things"
It was interesting TO note the extreme
sincerity Of that mans disgust. He has
long been connected with the theater.
He has produced many successful en-
tertainments of pronounced lightnoss of
character. Yet he was planning with
all his heart TO compel those who pat
ronized such less worthy attractions"
to attend and enjoy decent things" He
has undertaken to present a rising young
actress next season as star Her
abilities are proven. She is as anxious
as he to appear in decent things"
But he does not dare present her IN
a good play. Instead. he has hired a
good playwright who has found some
favor TO '.dramatize" a poor book. and
the two of them, actor and manager
must begin their campaign with a play
unworthy Of profitable patronage for a
single week. This is the reason why
even an experienced and established
actor like Miss Marlowe must waste her
precious time with dramatic rot like
When Knighthood Was in Flower" or
The Cavalier Her performance in the
latter play much resembles the pro-
verbal effort to n,ake a silk purse out
of a sows ear. But she will clear the
season.. said our friend. the manager.
with profit of not less than $50, 900. -
A few years ago, or rather a few
months ago, the cry was insistent: Give
us Shakespeare" We were told on ey-
cry hand that the people were starving
for Shakespeare The theater was in
the hands of a trust with commercialisrn
for its creed Art was dead. The mon
strosities of the managers were unspeak-
able Much of that cry was justified.
The theater was and is in the hands of
trust with commercialism for its
creed; but art is not dead, thanks TO
those same managers. They are giving
US the Shakespeare we called so for.
They are crowding it down our threats.
And we, who raised the cry, are look
ing furtively around the corner for
chance TO see The Runaways" and THE
Rogers Brothers" Perhaps some day
ii may be fashionable to use the intel
lect when in the theater If that happy
day shall ever come, then we shall know
how much we have been owing theatre
cal managers all these years. and why
Miss Galland's company failed of the
support to which it was so generously
entitled. A D. A
Past and Future.
Ouly thren local fbaafarc ara