The Washington herald., 1909-03-14
The Public and the Drama,


The assertion is frequently made of late
In the pulpit, on the lecture platform. in
the public press. and in ordinary casual
conversation that Washington is becom-
ing. or has become. the Intellectual center
OF the country. and the prececents Of his
tory. the trend Of circumstances, and a
multitude of local observations extending
over the past decade seem TO verify the
assertion. As the Capital of great ne
tlJn. this city should naturally assume
the same relative posiuOn as London.
Paris. and Berlin.
Certain local observations, however. do
not give results which conform strictly to
the current impression. the most remark
able being circumstances attendant upon
theatrical events in this city. The classic
drama is presented with entirely ade-
quate accessories. Expensive settings,
capable companies. and a principal Of
recognized scholarly attainments are all
forthcoming. but the presence Of the elite
IS conspicuous by its nonexistence. yet.
by the way. they do say that Robert
ManteIl packed the house for a week IN
Baltimore only forty miles away dur
ing his recent tour. An artist, which is a
very comprehensive term. like Bertha Ka-
Itch appears with a fine support in a
play Of more than passing merit. and
what is the spectacle presented in the
houses? A barn door peppered with bird
shot at fifty PAGES would most adrnira bly,
depict the appearance Of the auditorium
viewed from above Let a musical play,
either good. bad. or Indifferent, the more
Indifferent the better perhaps. come 20
town. and how different is the spectacle
presented? The lower portions OF the
playhouse, especially the boxes and or
chestra seats. are filed with representa-
tives OF high society, and the entire scene
takes on the aspect Of a social festival
These premises may lead logically to
two conclusions. accordingly as we may
use them Either that element Of So
ciety which is made up Of the wealthy
or highly official. or, in other words.
those who can afford to give the theater
its best paying patronage. do not regard
the theater seriously. and only look for
something which is a diverting auxiliary
to social functions, or else they are un-
able TO recognize the intellectual and edu-
cational elements Of the drama when IT is
placed before them. Both conclusions are
obnoxious to the thinking Americans; and
then comes the side thought that perhaps
the true intellectual strength Of the na-
ton Is IN the middle classes, so called.
who are debarred from witnessing the
exposition Of the artistic by the increas-
ing tendency 10 augment the cost. In an
anglicized version OF the Latin's query,
Who knows"
All this Is in no sense intended to be a
knock at The Merry Widow" which
happens TO be the current musical at
traction. for II is entirely worthy of the
immense patronage bestowed. being in
every artistic respect a striking example
OF how modern composer. after a period
Of barren years. may capably take up the
proper light musical idea where Won
Suppe and Offenbach left on II all mod
ern musical productions were ike II. this
screed would have no foundation In prem
ises, conclusions, or query Unfortunate
". the coarsest humored and the most
trivially scored musical spectacles show
the same conditions as regards superla-
tive interest In fact, we think some
scrutiny Of the musical fields alone will
reveal a tendency TO discriminate in favor
Of the baser material as against produe-
tions Of class which approximate the
Merry Widow" in quality.