Omaha daily bee., 1911-05-14
ZzREE NESTON SISTERS
~ tie OzRhezzu

the dark concerning the causes OF the
turmoil as was old Kaspar on the field OF
Blenheim.
The child not only learns his own role
by rote, but quickly apes the most striking
traits IN those about him. The more I'M
usual the more theatrical ms associates,
the more unbearable becomes the pre-
cocious infant, because he copies all the
absurdities without realizing how ridicu-
lous they are. When a child sees the
leading woman, worn by rehearsals in
tears, or the leading man raging around
and threatening TO throw up his part, ne
Is ready to emulate them himself. child
is more apt to be completely and irreV-
ocably ruined by the arutciallty OF the
stage than to be elevated and ennobled.
For this reason l MAINTAIN that stage
children who later learn to cultivate their
imaginations, are entitled to particular
commentator for overcoming a too efflc-
lent drill in the art of imitation.
The second contention OIL the children s
champions. this legislation deprlves chlldren
of an easy way OF earning their living.
This is foolish Not one child in fifty IS
driven upon the stage through necessity.
They are put to work by parents or other
relatives who are criminally lazy, or VINO
are vainly gratiffed by the cheap fame &C
cruing to the family. Frequently, these
parents would not allow their boys TO sell
papers on the street because such an oc-
cupation smacks of the socially submerged.
A boy, they argue, must be shielded from
the language OF the paVements. But What
does he hear in the theater? The stage
hand
speaks as fluently, appropriately and In
elegantly as the fruit vender whose cart Is
upset Why make a distinction in favor OF
the stage hand? Does picturesoueness OF
environment weigh so much2
OF course, children may earn SlS week
more easily on the stage than elsewhere
and that is all very charming while II lasts
But how about the futureY sleep iost pc
| fore midnight must be made up when the
sun is shining and the sleeper ought to
be in the open air. The time allotted to les.
/ H. Id nd hn
is robbed both mentally and physically
All this is bad enough during long engage
ments in the cities, but when 1t comes ia
sas eSS rO% Bens roatsd out
tho middle of the night for disquietinG
journey on jolting trains at the most un-
earthly hours; II 1t wrseks those Injured 20
hardship makes him peaked and thin or as
soon as he grows long-legged ana lanky
and loses his infantile prettiness, ne mas
nothing to fall back on. His SIS week
has vanished as completely as the SHOWS OF
yesteryear. Here, the opposition claims, is
the time for schooling. for culture; but un-
ciplined in school life, has lost his ability
to conform to it-really 20 study.
II the theater drills children so admirably,
why do our actors not hasten to put their
own upon the stage? Does the query need
an answer? 1t is because they know from
bitter experience exactly what Work the
stage entails, and they won't expose 'a tnelE
discretion, II the boy or girl wishes to fol-
low the parents footsteps, at least he
knows the work, the sacrifices. the priva-
lions that It means, and chooses with open
eyes SO Il happened 10 me, and so II
probably happens in similar cases.
Thus far. I have been discussing the eff
feet of a stage career on the child. There
is another aspect-the effect on the theater,
1t is my deepest, my sncerest wish TO see
the stage grow finer, nobler, stronger,
truer, and Il makes me happy to believe
our professionals had little Of culture, and
the stage little but the glory OF youth
except Booth and jefferson and our few
big ones. Now, our stage-like the Euro
pean-is demanding broad education, cos
mopo1itan intellectually cultured finish,
polished manner. Cur actors must know
French, German, dancing, singing-not with
absolute facility, perhaps, but so as to
use foreign phrase easily.
To such an end, every member OF the
profession must contribute something 10
the stage. We must improve. Merely TO
mark time is retrogression. In thia, the
presence of the child on the stage is POSI-
tive cumbrance; he is in - way, because
he has no ideas TO impart, nothing TO give.
His immaturity, which constitutes his
charm. clogs the wheels of progress and
initiates the older actors who are not In
II for child's play. If one well-meaning
child can eXasperate a cast. the mob of
children Is positively maddening. for they
never by any chance. all do as they ought
to. They are an artistic blemish, although
spectators may consider them pleasant
advertisement.
When we come down to honest facts, the
reason why children are wanted on the
stage is because they are convenient. While
II is easier. cheaper and more attractive to
] fiji a chllds role with a child, our man.
ayers will not be so altruistic as to reject
\ him. That is natural and comprehensive
| Should / ever play Madame Butterfly
| again, l should prefer to play with a child
than a makeshift; but II would be with
\ the guilty realization that my selfishnesl
| was probably detrimental to the boy,