Omaha daily bee., 1906-06-03

Claiming Pollock in the June issue OF
his entertaining little magazine. The Show,
discusses realism in his entertaining but
somewhat elusive way. Pollock has habit
of arguing In circles, and in this instance
he concludes as follows:
We are only at the beginning of realism
on the stage in America. we arc being
hampered and held back by the same kind
of theatrical managers who told Tom Rob
ertson that IL was not right to end an act
without a couplet, and by the same kind
of laymen who found indecency in Mar
garet Fleming" The mentality which de-
clares every innovation dangerous is as
detrimental to the achievement OF the best
in the theaters as the narrowness which
brands everything deep and vital as In
decent. Despite these obstacles there can
be no question but that every year brings
us nearer to the accomplishment of gem
uine realism. So long as We who love the
play feel while we think the most appre-
ciated kind of drama will be that kind
which most truthfully depicts everyday
life and the greatest dramatist VIII be
the man who can inject into the dull and
and extraordinary. II is now and ever will
be the commonplaces Of life its little Joys
Illuminated by the limelight and gilded by
the glory OF their setting, that make really
excellent and excellently realistic drama.
Assuming that Mr. Pollock means what
he says. and that isn't asking too much of
the easiest conclusion is that he has been
attending a performance OF one of his own
plays, maybe 1.-THE Little Gray Lady
This is one piece that depends entirely on
the little joys and little sorrows OF life
being thrown into the limelight, where
the commonplace things of a sordid ex-
lstence are taken up and set before the
public with little or polish or gliding,
and almost without that touch OF genius
that makes the ordinary appear as eN-
traordinary. But so we'll did Mr.. Pollock
handle his meager materials, and so skillful
was he in the manipulation OF the mixture
that he produced a composition that has
been praised from coast to mountain as
one Of the real triumphs of its sort. Be
yond the fact that 1t does give a faithful
picture OF boarding house life In washing
ton, which is much the same as boarding
house life all over the world. the piece has
little to commend IT.. But in the truthful
telling OF a story that deals entirely with
the commonplace the play has made fol
itself n high place. Its main fault is that
It presents people so colorless as to be OF
little interest to anybody, and for thi,
reason It will not long continue.
q
Real life Is wanted on the stage up 10 I
certain point, and then fiction begins e
hold sway Some phases OF life are 81
picturesque and almost improbable tina
they really exceed fiction, and these ar
transferred to the stage bodily, and Their,
received with the utmost satisfaction anS
Measure by those who have never eN
ptrienced the real thing. The Virginlan
is a notable instance OF this, Oths
plays put forth dealing with the sagl
topic, are 50 distorted and out OF proper
ton that only the authors ignorance car
be offered as an excuse for their being
THE Girl From the Golden West" is on
OF these, and yet through Mr. BelascoI
wonderful talent as a stage director tn
play has had enormous success. This A
due entirely TO the skill with which /
has been staged and presented. Scenery
panoramic and comprehensive, has d
made to act like Charity, and oloaS
multitude OF faults. To truly show ma
ture as 1t Is is only part of the mission
of the stage, and here is where M,
Iielesco's play has it's strength. The stag
must also show nature as Il might be
or as we would like TO have A. This FIRE
quently requires an exaggerated perspec
tive. the great central idea being so place
as to receive the illumination OF all tn
side lights and the support Of all Incl
dents. regardless OF reality so long a
they are logically arranged and With
the law OF probability. The modern play
wright has recognized this. and has pat
less attention to reality and more
probability than his predecessor. II
no longer a question, did It happenY
but could Il happen?" Given postulat'
the author undertakes to demonstrate 1
The weakness OF many OF the oontem
poraneous plays Is that they start 4,
prove something that is not worth Will
in which people have little II any intel
est. and which. when proven, establis
nothing. II was the pOstulate that mad
'"The Lion and the Mouse" a strong pla'
The handling was unskillful, and n
situations illogical and theatric, but n
esHtral thought IL one that sbides In svsI