New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-10-01
By I. {. SCHANG.

CEORGE ARLISS believes that en-
" tirely too much money is spent
by managers nowadays for theatrical
productions. Mr. Ariss says that just
about one-third of what is now eXpend-
ed would be sufficient TO pay for the
scenery, furniture and other props Of a
rrc duction.
While Mr.. Ariss failed to say
whether he advocates stone walls that
culver when an electric fan blows, or
houses that threaten 70 collapse when a
door slams, he did say that the present
craze for solid scenery is ridiculous
I'VE arc much too extrayagant in our
stage settings and have entirely too
much needlessly expensive scenery and
clothing. Our managers are competing
with ono another at a breakneck clip
that can result only in disaster. They
spend unlimited money FOR their pro-
auctions. and as a consequence, when
they get success, they play 1t as long
as they possibly can. Sometimes a
piece will go oil the road for five years
Just because it is financial success
and the manager needs the profits so
that he can keep putting on other oX-
rensiye shows at the same rate as his
competitors. This is bad for the actors,
who are compelled to play the same
roles to excess; ard it is bad for the
drama, because it tics up the good act
crs with one play and limits the num-
Ter of plays that are produced.
Il am in favor of simplicity of pro-
duction. If the cost were less, then
managers could produce more, and it
would not be necessary TO tie up ono
company of actors for several years
Just because their play is success.
The public doesn't demand expensive
productions and is quite as well sat
.sfed with a modest setting if only
the art is up 10 standard and the play
it entertaining. What an absurd phrase
is What the public wants! Bless their
hearts, they don't know what they
want! An adequate production will be
entirely satisfactory, and it IS foolish
to pretend that they require solid seen
cry. If they knew what they wanted
they would tell the managers, and then
We should have no failures
Mr.. Arliss was moved to make these
observations after having declared that
/. was "a terrible thing" for him to
have had to perform his last great sue
cess. "Disraeli," for five years.
at seems pity 10 me-" he went on,
chat the best actors are seen in so few
parts. This is due to the geography
% the country. When an actor gets
n good part the whole country wants to
see him in it, and although one move
around as fast as possible it takes five
years"
1t was pointed out that there was no
oompulsion in the matter, and that an
actor could, in fact, play as many parts
as he chose.
"Ah, but there is sort Of compul-
sion" replied Mr.. Arliss. adjusting his
monocle, which is M indispensable part
Of his attire; there is the financial
consideration. There are so many fail
ures that when you get success you
are bound not TO spurn it. That is why
am so strenuously in favor of modest
productions.
AS a matter Of fact. hope that my
success as 'Dsraeli' will have sufficient
ly established me with the American
public that | can now turn my atten-
tion TO four or five plays year. !
should like TO do n sufficient number of
Rays so that one or two failures would
not damage my career.
There seems some danger that the
classical plays are doomed TO dust and
FISHES. mean the best Of the old plays
those that have survived n century or
two and still are not old-fashioned.