The San Francisco call., 1908-08-17
Orchestra in Theater Proves NOnUSSential of
Drama, Nevertheless Indispensable
By Walter Anthony

rANAGER BISHOPS experiment
IN in running his Oakland play
~ Hhouse without an orchestra has
been watched with interest not
only by those concerned with the in
dustrial end of the matter. but by
musicians and the public generally.
Bishops reason for abandoning his
orchestra was that it's cost was not
justified by it's advantages. He claimed,
and with reason, that an orchestra in
the pit drew no money into his house;
that play goers went to see drama
and not to hear an orchestral concert;
he maintained that the average theater
orchestra is a poorly balanced affair
incapable of producing artistic results
and that, therefore. he would eliminate
his and secure soloists-vocal and in
strumental-to discourse tone between
the acts. He declared that a good
quartet was better than an orchestra,
where the violins were drowned by
the brass, and that a good violin solo
was better than medley or overture
rendered, under the disadvantages men,
TONED, by 10 or II instrumentalists.
The experiment was honestly tried
and proved, apparently, an honorable
failure. The orchestra was reinstated
occasion a well known society woman
across the bay took a little music box
to the theater with her and when the
curtain descended on the first act pro-
ceeded to turn the crank, with the
result that the tinkle of the music
was heard. She was loudly applauded.
the joke being appreciated by a large
and good natured audience.
On other occasions some of the best
vocal Instrumental
the bay was secured for the theater
and a male quartet sang we'll But it
wasn't what the people wanted so the
orchestra is back.
The episode of the music box illus
trates the reason for the failure Of
the experiment. 1t is true the public
does not go TO see a play and to hear
music too. The mood which appreciates
one is not the mood which Will ap-
preciate the other in spite of the Wag
merriam theories to the contrary. 1t is
just because the public does not go to
the theater to hear music that an or
chestra is needed. You do not have to
listen, If you do not want TO, and,
uncomplimentary as it may appear,
that is why small orchestra is ae-
ceptable. 1t fills in. 1t is like the
green that garnishes q good dinner
but which you do not eat; it is like
the lettuce that the waiter brings on
a hot platter with your steak 1t is
part of the dinner, but you do not eat
it, The entire act music is a part of
the play, but you do not hear it.
Nevertheless, you miss it when it is
absent.
The exigencies OF dramatic compo-
sition demand lapseS between the acts.
Camille" for instance. covers a pc
riod of from March to midwinter, or
about 10 months; but the visible ac-
tion represents not more than three
hours. 1t is while the curtain is down
that time flies and the herOine's fatal
malady develops to the catastrophe.
Some imagination and the artiice of
the theater are needed to make real the
witnessing in one evening of seen and
implied action covering nearly year
An orchestra helps the illusion along
1t brings relaxation and relief and
provides stimulus for other nerve CEN
ters than those which the drama
cites.
No actor and no audience could car
ry an illusion over three hours with
out some such rest and change as de-
scends with the curtain.
SoIoists and solo quartets are not
available because they supply counter
attractions; they demand for them
selves an amount of attentive interest
which an audience, intent upon the for
tunes OF heroine. is unwilling to give.
The better the solo attraction is, the
more fatal it is TO the interest of the
drama which is being disclosed.
Imagine Caruso singing between the
acts of The Old Homestead" or
Kreissler and his violin invading La
Toscar
But a good, though small, orchestra
playing music of the popular classics.
somewhat carefully adjusted to the
mood of the play. supplies a bridge over
which the auditors mind wanders care