The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1903-09-20
Success on the Stage.
Built Upon Seriousness, Not Upon the
Favor of Numbers.
By DAVID HIGGINS.

1 have often been asked II from my
experience and observation 1 have been
enabled to draw definite conclusion as
to the real place OF the serious play in
the stage history OF the present lay
My answer always is that 1 most decid-
eddy have reached a deduction satisfac-
tory to myself at least.
In the first place let as define terms
in order to start right BY the word
serious" as applied TO the play 1 do
not mean solemn, necessarily. but I ap-
ply the word TO all dramatic writing that
aims TO reach its due effect and climax
without the aid or use OF burlesque,
horseplay, or exaggerated means of any
sort. In this sense many. in fact. may
say all, OF the best farces may be class
ed as serious. the effort OF the author
being TO arrive at the denouement
through the employment of methods
sanctioned by the true eanons Of the
playmaker's art
Seriousness and EarneStness.
My opinion is that the serious play al
ways was. now is. and always will be
the foundation stone OF the stage; that
it is the saving grace of the theater rs
an institution. There never was a time
when it did not have the seat of honor
at the dramatic table. and when it fails
to sit in it's due and rightful place the
playhouse will cease to be a factor in
our civilization.
IL is claimed by many able thinkers
and writer's that it is the pure-princi-
pied minority of the populace who make
civilization and ethical advancement
possible. 1t is certainly true that it is
the pure play, treated in its structure
and details in an earnest. sincere man
ner. according to the best power OF exc
cution possessed by the author. that
holds the dramatic fabric together This
is just as true today as in Shakespeare's
time
In every period of the drama it has
been the few earnest workers who have
held the stage up by their lives and la
bors 10 a place of respectability. This
is so true that 1t has always been IN
consciously acknowledged by even the
lowest pandersrs to the worst forms OF
stage amusement The men and women
of high ideals and lofty conceptions are
always recognized by stage people as
the true pillars of the playhouse. the
oftentimes obscured props that indirect
ly hold the lighter superstructure from
tumbling in a ruin-heap.
A Question of Foundation.
The whole thing is like one or our
modern Office buildings. Its ornate parts
tower upward in the sun. but down at
the base are the deep-laid foundations.
The theater is the one steadfast form of
amusement. IL owes all OF this TO the
serious play. Has there ever been a time
when the successful farceur did not burn
to try his art at the creation OF a new
serious lfolike character or to appear
before his great friend. the public, in
one or more of the classic roles made
famous by the Booths and Garricks Of
the great days of the drama?
very little turning back-in fact. no
turning back at all, but a mere reference
to the efforts OF some OF our most sue
cessful comedians of today-answers this
question. Why do they strive? Because
they feel. they know through their artis-
tic instinct. that here lies the real and
Only true field for effort worth the while
The public in the present-day crowd
ing TO the burlesque OF farcical forms OF
amusement somewhat to the neglect OF
tho higher types of the drama is often
claimed as proof OF deterioration ia
general taste The answer Is that so
did the public always. iFew Of the names