The Richmond palladium and sun-telegram. [volume] (Richmond, Ind.) 1907-1939, 1911-09-30
By ESTHER GRIFFIN WHITE.

!
theatrical conditions. This season, sta
ted Mr.. Mason. had been the worst in
years. This was rather surprising as
! last year was bemoaned as the worst
ever known in theatrical annals. But
| Mr.. Mason stated that his season had
scarcely made its debut before it was
recognized as hard one Many com.
panies which had started out had dis.
banded or temporarily returned from
| the field of theatrical activities.
! No specific reason could be assign.
ed. Theatrical seasons are sometimes
| bad just like the weather. You can't
always tell why-although experts
seek to explain.
so vcung-sa fair-so soon to die. -
However maybe things aren't as bad
as Mr.. Mason gloomily states. Even in
Richmond we lock towards the light.
For is not Get Rich Quick Walling-
ford" to be here next week?
And Mr.. Mason declares on his dis
tinguished oath that this is some
show"
! What company is 1.-THE NINTH"
| Mr.. Mason tried TO look reproachful
but didn't succeed. Mr.. Mason's role
is the always smile one agreeably
varied with mysterious expression of
vast theatrical erudition.
| Mr.. Mason, incidentally, wears a
dropping rose on his coat lapel If it
had been a Richmond rose it would
have proclaimed to the world that he
attended the banquet at the Y. NJ. c.
A the night before.
| But it was white.
| There are only three Wallingford
companies. SO says Mr.. Mason. Two
road aggregations and the original
New York production which is now
playing in Boston.
Some Of the thespians who will pre-
sent the play in this city were in the
original company in it's long run in
New York. This seemingly anomalous
statement on the part of Mr. Mason
was interpreted into meaning that in a
long run the roles are alternated and
these alternates are now in the COM
pany which appears in Richmond.
| If this isn't the fact the matter can
be animadverted upon the day after.
Everybody read the Get Rich Quick
Walingford" stories by George Ran
dolph Chester when they came out in
the Saturday Evening Post and other
where and know them to be admirably
adapted to dramatization for the
American stage. The stories deal with
American types. familiar ones. They
| a n 10 in tor loo do
gree in every community.
| The American audience is a more
composite affair than it's continental or
even its English prototype 1t is more
disintegrating, less cosmopolitan On
the other hand it has. singularly en-
oush, a more open mind, in ensemble,
a more instant comprehension of an
unusual subtlety, a reader apprecia-
ton of a technical difficulty overcome.
In other words an American theatre
cal audience of an average character
those that frequent the legitimate the
aires. is more fluid and adaptable to
conditions on the stage than the audi
ence of more sophisticated country.
To return to Mr.. Mason, however,
who didn't say this.
He said other things. though, that
at the time sounded more interesting.
Theatrical business managers, like
Y NJ. c. A. secretaries are class
apart.
Dramatic art is something with
which they have remote if bowling
acquaintance. They talk of Capacity
of one night stands, of box Office re-
ceipts, of salaries and many things
as the Walrus said
"Walrus!" said Mr.. Mason with an
upward infection.
AN old FRIEND said the other per.
son passing lightly on.
There are too many theaters." said
Mr.. Mason-or was it Mr. Murray
Anyway the papers have been talking
about it.
The celebrities and near-famous the
stars and the "high-class" productions
are too few to go round, They have lit
tie time for the one-night stands. The
big theaters now in existence in the
larger cities cannot find enough attrac
tons to keep them going during the
season. Half the time they are dark
And more theaters are being erected
Besides one night engagements
don't pay, according to Mr. Mason.
, The public isn't satisfied and the va
rious phases of the profession are
discontinued.
| The whole thing resolves itself into
this There are not only too many
theatres, but too many actors-alleged
ones
Cut out the superfluous theateI
buildings and then throw out the PEG
pile on the stage who ought to be on the
stone pile or scrubbing the scullery
steps, and conditions might adjus,
themselves,
Duse once gave out an interview in
Paris in which she scathingly scored
the stupidity and lack of general cul
ture among those of her profession.
1t was resented because true That
is of her compatriots. And it is this
very lack that makes for the crudities
of the theatric art.
People who can't use the Language
correctly, that is in its mere construc
ton, aspire to dazzle the world with
their dramatic interpretations The ar
of elocution, derided and sneered at
hut in itself necessary aceompIi IN