The Washington herald., 1907-10-20
Mnsin and the Theaters.

In New York Mr.. David Belasco has
just opened his new Stuyvesant Theater,
a model playhouse in many respects, and
evidently following Mr.. BelascO's ideas.
One OF its most striking novelties is the
abolition Of the orchestra pit, which
means. Of course, the abolition Of the
orchestra, a matter in which Mr.. Arnold
DAILY. at the Berkeley Theater, had al
ready given him a lead. These two ex-
amples mark, it is believed, the begin
ming Of a new effort to do away entirely
with the orchestra and entr'acte music.
a habit which is followed pretty generally
in the cities Of the European Continent.
except where musical performances are
given. It is only in the United States
and in England that the custom of
entr' acte music as an aid to conversation
in the waits has been we'll nigh universal.
IN this country there has been little
discussion as to the value Of music be-
tween the acts. Such as there has been.
however, has been largely from music
lovers. who object TO the quality OF
music furnished by the usual theateT
orchestra of eight or nine pieces. For
the most part, entracte music has been
Of the lighter sort, and has very often
been selected with the view Of pOpulariz-
ing the music OF some comic opera that
has just gone, or which is expected at
the theater within a short time. There
have been attempts to better the music
between the acts. but it has not been
| highly successful. Some years ago Mr
Charles FrOhman allowed his orchestra
/ leader to increase the number OF his
musicians, and to get together a com
/ pany of players who could worthily
Beethoven. but 1t seemed that nobody
| listened. People seem to think that the
wait between the acts IS meant for con
versauon, and conversation CRATES on tht
/ nerves Of the music lovers when the
/ classics are being played. Music. 10 at
tract the undivided attention OF a the
/ atrical audience between the acts, WoulC
/ have TO be sUperlstlvely good. and II 4.
/ out Of the QuesJi0n-merely as matter
I Of cost-for theatrical managers TO pro
/ vide "A concert orchestra for this merely
! incidental filling in.
At Mr.. Belasco's new theater there il
no music before the play while the peo
pie are taking their seats. The theater 4
/ silent, save for the hum Of conversation
until the play is ready 10 begin. Thel
a chime of bells rings out and directs
! attention TO the stage the lights in tn,
auditorium grow dim. and the curtain
rises. II there is music incidental I,
the action OF the play, It is furnished b,
musicians on the stage who are neve
seen by the audience. So far, it is re
| ported, the public has taken kindly to III,
idea. and if it is found 20 work success
fully. the plan viii probably spread I,
other cities.
In some aspects-in the gaining Of ar
tistic effect, for instance-the abolition
Of music between the acts ought to be al
excellent thing In serious drama, par
ticularly, the absence Of popular an,
light music between the acts should hell
to impress upon the audience that tn,
drama Is presented for something els
than the mere diversion or amusemen
Of the public. Anything that viii lea,
the public to regard the stage as q seri
Gus factor in our social life or will hell
| 70 rob 1t OF the false idea that it is al
froth and frlvolIty cannot. we think. hell
being for the good.