Omaha daily bee., 1915-10-24


foreign artists from the
standpoint of art. They have a mes
sage for us. Let them deliver It, by
all means. The question before US is an
economic one. From the standpoint of
an economic principle ! have the same
regard for foreign artist that ! have
for a Chinese laundryman. Both pack all
they get away with them. Let them pay,
like the rest Of US. That's what we want.
II incomes gained in the theatrical pro-
fession are taxed most OF that revenue
will come out of the pockets of foreign
artists. There are hardly any American
actors now. l think there is hardly al
theatre In New York where there are not
more foreign than American players.
Any manager will rather engage a for
eign actor than an American. It is not
their fault-the public likes 1t. The pub
lie likes to see the foreign name on the
programme. II likes to hear the Ian
guage spoken, don't you see, with q broad
"a" and no ms" at al.
Since the European war began there
are more foreign actors here than ever
before. They have come over here in
enormous numbers, especially from Eng
land-perhaps to make room for the Irish
In the trenches. Most Of them gain tax
able incomes. Another thing they do is
to reduce American actors incomes, II
not to the vanishing point, certainly to a
point where they won't bear taxation.
whether II Is because we are Anglo
maniacs, the fact remains that the Amer
lean playgoing public seems quite agree
able to the situation. There is a class
of Americans who like to be considered
cosmopolitan, and who appear TO define
a cosmopolitan as one who sneers at his
own country. James T. Fields once said:
Il think that a real cosmopolitan should
know something even OF his own coun-
try"
Our American managers began by en-.
gaging English actors for types in
English plays. That seems reasonable.
The public applauded, not so much be-
cause these imported actors were familiar
with the real life types which they Inn
personated as because they were luxuries,
as most imported articles are. After that
the American public were eager to see
English actors as any sort Of types, real
life or ietional. The English actor was
planted In this country, and the Ameri-
can actor never dreamed how abundant
the harvest would be.
The American managers have con.
tinued 70 be wise-for their box office.
They engage English actors to play pure
American types, home-bred Characters,
who refuse to broaden their "a's" and
who put their "h's" where they belong.
Consider the case Of Mr.. Ames, first
presiding genius Of the New Theatre,
built and endowed to foster and protect
American art. Mr.. Ames transfers his
talents, which certainly are respectable,
to the Playhouse. and offers a generous
prize for the best native American play.
Miss Alice Brown, Of New England, wins
the prize with q drama which Is not only
American but New England Yankee
throughout. Mr.. Ames pays the prize
money and proceeds to produce the prize
Play.
Now you would think. wouldn't you,
that Mr.. Amos would have engaged some
genuine Yankee actors for that play ?
Just as so many managers began by en-
gaging English actors to play English
types? He didn't. For the two best ma
tive, real live Yankee parts he engaged
two born and bred Englishmen-Mr.
Herbert Kelsey and Mr.. A. E.sAnson. The
latter had been in this country only .
year.
And Mr. Ames himself is q Yankee.
Copyright 1919 By the star comnAny