The Wheeling intelligencer. [volume] (Wheeling, W. Va.) 1903-1961, 1915-10-23

foreign artists from the
standpoint OF art They have q mes
sage for US. Let them deliver II. by
all means. The question before Us is an
an economic principle l have the same
regard for a foreign artist that I have
for a Chinese laundryman- Both pack all
they get away with them Let them pay,
Xix the rest of US. That's what we want.
IL 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. I think there is hardly a
theatre In New York where there are not
more foreign a American players.
Any manager will rather engage a for.
eign actor than a n American. 1t is not
their fault-the public likes Il. The pub
He likes to see the foreign name on the
programme. II 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 there
are more foreign actors here than ever
before. They have come over here I'm
enormous numbers, especially from Eng
land-perhaps to make room for the Irish
in the trenches. Most OF them gain tax
BILE Incomes. Another thing they do Ia
TO reduce American actors incomes. II
not to the vanishing point, certainly 10 a
point where they won't bear taxation.
whether IL is because we are Anglo
maniaes. the fact remains that the Amer
ican playgoing public seems quite agree
able to the situation. There Is a class
or Americans who like TO be Considered
cosmopolitan, and who appear 10 define
a cosmopolitan as one who sneers al his
" country. James r. Fields once said.
Il think that a real cosmopolitan should
hnow something even OF his own coun-
Our American managers began BY en-.
raging 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 i'm.
pe~rsonated as because they were luxuries.
as most imported articles are. Amer that
the American public were eager 10 see
English actors az any sort OF types. real
NE or hctional. The English actor was
planted In his country. and The Ameri-
can actor dreamed how abundant
the harvest would be.
The American managers have con.
tinued TO be wise-fOr their box office.
They engag English actors 10 play pure
American types. home-bred charaoters.
who refuse 70 broaden their as" and
who put their his where they belong.
Consider the case Of Mr.. Ames. first
presiding genius Of the New Theatre.
uhlit ana nuoNed 70 foster and protect
American art. Mr. Ames transfers hfs
talents. which certainly are respoctabie.
70 the Playhouse. and offers a generous
prize for The best native American piay
Miss Alice Brown, Of New England. wins
ne prize with a drama which h not only
American but New England Yankee
throughout. Mr. Ames Gays the prize
money aud proceeds 20 produce the prize
play.
Nov you would .hink, Eouidn't you.
mat hr. Ames would have engaged soms
genuine Yankee actors 'or that playf
Sust az 20 mnny MANAGERS began ~ en-.
Gaging EnEilGh actors 20 play English
typesf He iidnt For me .vo best -
tive, seal uve Yankee parts no sneared
two born and bred EnHishmon-Mr.
Herb'rt Kelsey and Ne A r. Anson. rhs
latter had been In this county only :
year
And Mr. Ames himself is a rankea
Convrfehf fofE ~ a.. 81. $50