The Washington herald., 1911-09-17

did political play in my trunk" he said
not long ago. "one suspects that 1t is
The Machine by De Mile. But I am
not going to produce it-yet. I think the
public is tired Of political plays. Sooner
or later, however, the wheel will turn
| back"
Just at present Belasco believes that
quaint, picturesque costume comedy will
become popular, such, perhaps, as "Po-
mander Walk" which delighted New
York last year with its reproduction of
Jane Austen atmosphere its fragrant
bouquet of early Georgian days. Evil
/ IDENTIFY George Tyler thinks so, too, for
/ he has commissioned its author, Louis
Parker, to furnish him with a number
Of new plays Most Of Mr.. Parker's
work is Of this class, as witness Rose
mary" in which Maude Adams support
ed John Drew so delightfully."-, one Of the
pleasantest recollections Of playgoers of
a few years back. Tyler will bring Par
ker's new play, "Disraeh," to New York
with George Arliss early in the season
Like gamblers over Les Petites
Chevaux," the managers watch the rev.
olutions Of the dramatic wheel, intent
to discover what the popular fancy will
| hit upon next.
kill the goose that lays the golden egg
For example. a good Western play
comes out, good because the author
knows his subject thoroughly, feels IT, is
able to project his feeling to his audi
ence. Its success is enormous. Forth
goes the mandate from the managers,
I'VE must have Western plays" Ac-
cordingly, authors sit them down and
write Western plays; write them to or
der, no matter how little OF the West
they may know; write them with their
eye on the lucky play that has made
a tenstrike. They are rushed upon the
stage-quick, quick, while 1t is yet the
fashion. And then there is surprise that
they do not duplicate the success Of the
original The subject is soon spoiled by
very excess of cheap limitations, and laid
away until some new writer. with a
new outlook, revives its vogue by his
originality. and not by copying previous
successes.
"Rubber Stamp" Plays.
For the playwright, too, watches the
wheel for every sign Of turn. A few
years ago The Man Of the Hour was
the success of New York. The fame OF
It went all over the country. A play.
similar in general type. was according
ly sent on the road Its success seemed
assured. Yet the tour ended in disaster,
while the next year The Man Of the
Hour" covering the same territory,
played to capacity.
The author will do we'll to ruard
against writing too carefully to satisfy
popular taste that is always shifting.
What kind OF plays are the managers
looking for this year, inquired an
author. Good plays" was the signi-
ficant answer OF a well-known actor
1T makes comparatively little difference
what kind OF play you are writing
farce, tragedy, melodrama. But what
does make the difference is, whether or
not it is a good play II It is. 1t will
succeed"
AS for the managers. the most success
full are those who are not afraid to try
something new, something original, even
II the public has not as yet set its seal
of approval upon it. It is well enough
TO try TO forecast the public taste. to en-
deavor to meet 1t, to conduct your ar
tistic business by the well-worn shop
rules of supply and demand.
But still better is IL to create the de-
mand as many hard-headed business
men will bear testimony. To form pop
ular taste, rather than cater to 1t: to
say, this shall be the popular type of
play" because it is worthy-this is the
opportunity of the great manager
We recall Ibsens proud answer when
critics objected that his Peer Gynt" was
not poetry: My book is poetry: and II it
is not, then it shall become so The
definition OF poetry will be made to con-
form to it." Splendid boast splendid