The San Francisco call., 1909-03-21


ot the week and make all of them
artistic and convincing. That was the
i1dea or the Ole stock companies.
Then came, let as say, 20 years
ago. the enterprises Of the Frohmans.
There was the Lyceum theater IN New
ork. run by Daniel Frohman. al which
such plays as The Wife and The
Charity Balr We're presented under
David Belasoo's managership. Later
There was The Empire theater under
Charles Frohman's management. But
these we're no more stock companies
than any other cast is a stock cast
which retains its identity throughout
The run OF a successful play. The
Characteristic which marks q stocl-
company Is the presentation OF new
nlays-every week or so. In this re-
Fpeet the theaters Of 90 years ago were
rot stock theaters.
4.
- IS in 5ho wind now. however that
The stock theater shall branch out.
We are beginning to take on an
independents attitude and to look about
for ne~ plays and rising writer's. Com
b.nations Of stock houses have been
suggested and # is likely that there
VIII be string OF them which viii
stretch from cast 10 west. doing pio-
noer work in the development Of talent
and in the production Of new PLAYS.
"WheH 2 went TO New York about 20
2.esrs $50 the first thing I did. OF
course. wos 10 look for a JOB. went
go work al The Madison square theater
which then was being run by the Nal
lory brothers. Held by the Enemy,
was the piece 7 made my first New
York appearance in. The Madison
Square iheater was the PLAYHOUSE
where David Belasco worked before
Die went over 10 the Lyceum. There
were no stock companies In New York
Pr that time. that is. they were
not stock houses from the modern
point of view And even now IN New
York the term stock is somewhat in
The nature Of an cpithet OF reproacb
7 went ~ New York after the fire ami
was interested TO observe the differ
ence between stock conditions there
and elsewhere throughout the country.
Ar Proctor's. for instance. an interior
scene was disclosed. and vet there
were no knobs on the doors. Like
swim ging- barn doors. they we've stub-
born and Eould not open. No at
rentiou whatever was given to details
and the scenery was made TO nt the
cEigencies ~ plot and play as best il
r3uld.
"But outside ~ New York there is
tendency 70 better things. New York
fter an does not reflect the normal
life of the nation. The theaters there
mainly cater to transient trade. and
play TO holiday audiences. It is dif-
ferent in Boston. which has had good
stock company ever since the days OF
rae old Boston museum In Cleve-
land. Pittsburg. Philadelphia and all
The way south TO New Orleans. the
stock companr IS nourishing and reach
tag out with its influence. What mill
tates against the perfection OF perform
ance in stock houses throughout the
east BIS the two shows a day evil. No
company can present itself twice every
cay and rehearse new plays for the
following week with artistic success.
But as we travel farther west, stock
conditions get better and we on the
Tlm OF the continent are showing TO
the east what can be done in the way
n real productions in stock. The
western stock theater is the hope Of
The nation.
~ BELIEVE that the time viii come
when. instead Of the present sys-
sem OF star productions. there viii
eusue a method Of play presentation
which win develop from the stock
houses such as we have out west
Assume. Tor instance. that a new
playwright perfects a play. He is un-
known and without influence. He tucks !
lis manuscript under his arm and goes
10 New york There ne tries to get a
herring. None Of the prominent pro-
dacing managers viii give him an au-
dience. They do not have the time /
TOO many struggling dramatic writers 4
are clamoring at their Office doors; and 4
so. like Charles Klein. with his play /
-Tho Lion and the Mouse, the writer Of
sn American drama trudges the streets 1
.ud goes lame in Broadway. But if
there was a stock house to which he 1
could repair in his own city, he might
save himself the wear and the worry [
and financial loss that he is now sub
5oeTr TO. Suppose that the stock house
Vvss only one Of a string. Each Of the
other playhouses might easily share
iu the possibility Of loss which the
production Of new play always en-
tails. The experiment could be tried,