Los Angeles herald., 1910-03-23
The New Theater"
By Frederic j. Haskin

| formerly dramatic critic Of the New
| York Sun, as literary director. MT.
Ames will continue In his present po-
sition next year and probably Mr.. Snu.
bert Also but Mr.. Corbin, whose lot IL
has been to read the plays submitted
for production, has resigned with the
statement that the reading or 20OO
manuscripts of plays good, bad and
Indifferent has been entirely too irk-
some a task for him to continue In MS
present post. This statement has not
entirely explained internal conditions
to the satisfaction OF the public, which
sees in his resignation an evidence Oh
discord.
The theatrical trust and its subsidiary
organizations have been openly hostile
to what has been termed the million
aires playhouse" Much of this AMI
mostly is, of course, to be explained by
the fact that the head of the opposing
faction, Mr.. Shubert, was chosen as the
business manager on the other hand,
the achievements of the first season
have not been as brilliant as had been
anticipated. Director Ames in public
statement few weeks ago said that
the New theater had not lost any
money on its dramatic performances
but it is generally admitted that the
choice of plays has not been alto
gether felicitous. one of the chief
points of criticism of the management
of the New theater has been that
while IL is supposed to be essentially
an American institution, a majority Of
the modern plays have been by alien
playwrights, and the personnel of the
permanent company embraces the
names of many English actors and
actresses.
In spite of its shortcomings the dis
f,f, TOD 4t,4n Y,1p 1nI
well wsher of the drama VIII look upon
the first year of the New theater as
one of much promise for a long and
useful career. That America has
needed such an institution for many
years Is an indisputable fact, and II is
believed the problems which now seem
so perpleXing will work themselves
out. provided the leaders remain de-
voted to the ideals upon which the
organization was founded.
The New Theater building embraces
many features which are revolutionary
The structure is of clear gray Indiana
limestone and the architecture is class
ical In detail and proportion. following
the precedent of the Italian renaissance
and suggesting the SansoVino library
in the Piazza di san Marco, Venice.
The interior is finished in ash gray and
gold. The proscenium is framed in a
wide border of Connemara marble, and
the curtain is made of red velvet en-
broidered in colors and gold. The boxes
and foyer stalls are lined in the same
red velvet The decoration is the work
of James Wall Finn There are sixty
eight exits, thus enabling the most
crowded auditorium to be emptied in
three minutes. on each of the corners
in front is a double circular monu-
mental staircase rising the entire
height of the building
The stage embraces many novel fea-
lures There is a revolving platform
which enables two scenes to be set at
the same time. After one has been
used the other may be turned into POSI-
tion without loss OF time or hindrance
to the players The dressing rooms are
among the most spacious and commo-
dious in the world Shower baths are
provided for the members of the COM
pany and the makeup tables embrace
all the most approved ideas in the way
of lighting effects and mirrors. on the
roof has been arranged a small audi
torium to seat 400 or 500 people. Here
will be given the more intimate come
dies, the subtlety of which would be
lost in the large auditorium The main
stage itself is 100 feet between fly
galleries and its height is 119 feet to the
gridiron. The depth of the pit is thirty
two feet below the stage level. one of
the DuRaDOOS OF tne pdidllhl playhouse
for several weeks after it was thrown
open to the public was the fear that
its acoustic properties would be ex-
ceedingly faulty. This proved to be an
unnecessary alarm, however, for while
it Is not ideal in this respect 1t is about
as satisfactory as could be expected In
an auditorium of this size.
The model on which the new theater
is founded, as we'll as that of most of
the national theaters in South America
and Europe, has been the Comedie
Francaise In Paris. This famous thea
ter has had a most remarkable and in
teresting history. 1t really dates back
to 1858, when Moliere and his band of
strollng players first entered the
French capital and were nominated by
King Louis XIV as the "King's COM
pany." At that time there was another
company of actors in Paris known as
the Royal company, and these two
waged bitter warfare until 1850, when
by decree they were combined under
the name of the Comedie Franchise.
This has gradually increased in power
until it is today recognized as the most
scholarly theatrical organization in the
world.