Richmond times-dispatch. [volume] (Richmond, Va.) 1914-current, 1915-10-24

| have no objection 10
foreign artists from the
standpoint OIL art. They have mes
sage for us. Let them deliver il. by
all means. The question before us is an
economic one. From the standpoint OF
an economic principle / have the same
regard for n foreign artist that | have
Tor Chinese laundryman. Both pack all
they get away with them Let them paw,
like the rest of us. That's what we want.
If 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. | think there is hardly a
theatre in New Yor!; where there are not
more foreign than American players.
Any manager will rather engage for.
e1en actor than an American. 1t is not
their fault-the public likes it. The pub
lie likes TO see the foreign name on the
programme. 1t likes TO hear the ian.
guage spoken, don't you see with a broad
a, and no his" at all.
Since the European war began tbere
are more foreign actors here than ever
before They have come over here in
enormous numbers, especially from Eng.
lahu-perhaps to make room for the Irish
III The trenches. Most OF them gain tax
able incomes. Another thing they do is
20 reduce American actors incomes. IL
10! 10 tne vanishing point, certainly TO a
point where they won't hear taxation.
whether it is because we are Anglo.
naniacs. the fact remains that the Amer
lcan paygoing public seems quite agree.
aDlc 10 the situation. There is q class
OF Americans who like to be considered
cosmopolitan. and who appear TO define
cosmopolitan as one who sneers at his
own country James T. Fields once said:
i think that q real cosmopolitan should
- ~.
try"
Our American managers began by en-.
SaSlng English actors for types in
EnShsh plays. That seems reasonable.
Inc public applauded, not so much be.
cause these imported actors were familiar
with the real life types which they i'm.
personated as because they were luXurics,
rs most imported articles are. After that
inc american public were eager to see
hnSilSh actors as any sort OF lypcs, real
ne or ictional. The English actor was
planted i'll this country, and the Ameri-
can actor never dreamed how abundant
the harvest would be-
me American managers have con-
aued to be wise-for their box office.
!ney engage English actors to play pure
american types. home-bred characters,
VINO refuse TO broaden their as, and
who put their chs" where they belong.
Consider the case of Mr.. Ames, first
pTesiulng genus OF the New Theatre,
putt 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 a 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 yon would think, wouldn't YOU,
that Mr.. Amcs would have engaged some
genuine Yankee actors for that play?
Just as so many managers began by ell.
gasing 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. Arson. The
latter had been in this country only
year.
And Mr.. Amcs himself is a Yankee.
Copyright. 1916. by the Star Company.