The daily morning journal and courier., 1905-05-09
ENIMIEs OF THE DRAMA


 That dramatic art is degenerating in this country is the belief of many of the the most capable reviews of theatrical entertainments. Very few ne companies are being organized by managers who have appreciation of worth, in actors and plays and who sek the approbation of men and women of culture as well as the substantial re- wards of business enterprise. The req son of the general disinclination to en- gage in theatrical productions which appeal to the mind as well as the eye may be found in the testimony brought out in the suit of David Belasco against Klaw and Erlanger of the New York syndicate which, with it's allies, con- trols practically all the theatres in the United States. According to this evi- dense a manager cannot find a first class theatre for his company unless he agrees to the terms imposed by men who assume none of the risk of a new enterprise and who are by no means modest in their exactions for service not rendered. The conditions imposed are so arbitrary and unjust that no man of spirit and artistic tempera- ment cares to affiliate with a syndi- cate organized for the purpose of get ting money of the pockets Aof every one who has anything to do with the affairs of the stage; and the result necessarily is marked lowering of the quality of the new plays and a notice- able decrease in the number of com, panies that deserve bookings at first class houses. i..z zs.t<E .s That the syndicate members are not able to furnish companies for the thea tres controlled by them is very obvious this year. It is not necessary to go out side of Providence for proof of this statement. The leading theatre of this city was closed Saturday evening for a week and a half, presumably because there was nothing to send here. If this were the first failure of the syndicate to keep the theatre open the public might be more tolerant of the policy of repression; but the fact that it has been closed repeatedly during the best
 part of the season is veryA suggestive of the pernicious effects of the me thods which deprive local theatregoers of the pleasure of seeing artists who refuse to pay tribute to one of the most obnoxious of combinations or to accept the low standards of mere money changers. Tn other words, the owner of the theatre is not permitted to engage an artist like Mrs. Fiske when the syndicate hasvnothing to of fer; the implied threat of the syndi- cate to drive him out of business II he presumes to make an occasional booking is sufficient to convince him of the wisdom of protesting to be pleas- ed with a season divided between ill- different productions and closed doors.
 Prices of tickets have been advanced without regard to the merits of the play or the actors. A, few years ago
 ordinary productions were not foisted upon the public for $1.50 or $2.O0 a seat, Now companies which should De sent to the fifty-cent houses are book
 ed at the first-class theatres and prices high enough to cover the expense of inc best grade of entertainment are charged, on the supposition that the cheat will not be resented. But the syndicate is learning that patrons are ready-made stars, crude plays and musical comedies without music or wit do not put upon standing room. The theatrical monopoly, accordingly, is being touched in a, vulnerable place, and if the public persists in refusing to pay liberally for unsatisfactory of- ferings the syndicate may see the wis dom of abolishing the odious conditions which have discouraged individual ef- forts in the theatrical world. If, how ever. it does not heed the sentiment created by the revelations of the Bella sco trial other means of liberating the theatre from the clutches of a mer- cenary horde must be found, and free expression of public opinion will be no small factor in bringing about a wholesome smashing of the theatrical trust.-Providence Journal. ,...,. ;