Los Angeles herald., 1910-02-20
BY SHIRLEY OLYMPUS

7 f the success of certain plays now
being presented in New York and
n elsewhere is any criterion, melo-
drama is coming into vogue again. And
with it returns the day of the emotional
drama.
AS regularly as the seasons come and
go melodrama returns to grip the
nerves and claim attention. Farce holds
sway for time but it always is sup
planted by melodrama, and at each
supplanting the latter secures a f1rmer
grip upon the public.
A casual glance at billboards will
show that the reigning successes just
now are The Barrier" THE City,"
Madame *" alias Jimmy Valen-
tine" "The Commanding Officer
'The Lily and others. Clyde Fitch's
THE City" is probably the best proof
of my statement. 1t is a melodrama in
every sense or the word. Women faint
and gallery gods howl with delight or
III derision at every performance.
Since THE City" was given its pre-
miere the melodrama fashion has been
gathering impetus so that not one
single EXAMPLE of this brand of stage
entertainment has passed by without
rich reward.
1t is odd how melodrama comes back
into vogue every once so OFTEN; Inc
public becomes surfeited with all that
is newest and most original in stage
Inventions, then suddenly goes back to
first principles. Farce and melodrama
being first principles, the theater pub
lie returns to them just as the eating
public seeks roast beef after feasting
on chicken.
The public will always want amuse-
ment from tragedy to vaudeville, but
the great mass of playgoers no longer
wish to be treated as though they were
either brainless or tired business men.
If this be true, then the emotional
drama will come into it's own again. IL
is unlikely that the emotional drama
will be in form ands character IKE
Camille" East Lynne" or the Sardou
plays 1t will not present great prob
lens or advance theories 1t will be
realistic and modern.
The public Is just beginning to dis
cover that we'll written modern plays
which have a strong emotional appeal
are interesting even if they do COM
mel a little thought. Tired nerves will
find they are rested better by being
yrenched into new sensations and tired
brains will feel better for having been
forced into activity rather than lulled
to insensibility by frothy stage pic
lures.
George Broadhurst, who is becoming
known as LOS Angeles own" says he
will write no more propaganda plays.
This is to be decried, for many have
thought Broadhurst would evolve the
great American drama based on some
social, political or economic principle.
1t may be far cry from the theater
to the garage, yet if the statements
I.NA Aof-
dicating truth, the auto and the drama
are closely related, rather closely
opposed, for they declare with great
y Vehemence the automobile Is keeping
patrons out of the theaters. There
seems to be more truth than persifage
in the statement, too!
Legitimate drama Is not patronized
as well today as it was ten years ago.
To account for this, theatrical wise
acres assign three distinct causes. First
is vaudeville Second is the moving
picture show, and last, but not least,
is the automobile.
1t is easy to understand why vau-
deville hurts the legitimate playhouse.
Vaudeville is amusement, pure and
simple, affording a pleasant means of
forgetting ''the cares that infest the
day." Hence vaudeville is well pat
ronized by those who formerly spent
their extra dollars and time in the
regular" theater
AS to the moving picture show-it is
cheap. Taken on the average, it is
interestingly instructive and enter
tanning. For half a dollar a man and
his wife may fairly reveI in amuse-
ment of the film variety. No wonder,
in these days of high cost of~1iving,
moving picture shows turn em away
while theaters remain empty.
But where does the auto come in?
First of ALL too many persons who
cannot afford them buy autos. Homes
have been mortgaged, life insurance
policies hypothecated and jewels sold
in order that an auto may be added
to the family chattels. The upkeep OF
autos, especially the cheaper ones, is
large When father pays the bills lie
says with sigh, I'VE must have an
auto We cannot go to the theater'
Those who mortgage homes to buy
autos are those who sit in the last five
rows of the parquet or the balcony
1t is upon these persons theatrical
managers have depended to pay sal
aries.
The possession of a machine by
those who can afford the luxury has
its effect Many rich auto owners pre-.
fer to motor than sit in a stuffy the
ater. And they follow their inclina-
tions three-fourths of the time!
But after all. theaters will remain
omen and managers will continue to
t, reap dollar harvests, even though
autos are being purchased by the
thousands every year.
Rudling young-or old-dramatist;
= will lie pleased to learn that the Ac-
tors Society OF America has a com
nittee Of we'll known actors and play
wright who read Ill Manuscripts sub