Evening star., 1917-01-14

elimination of a career in which early
preparation in the practical school OF
experience played no small part. a
romantic actor, never comedian, re
acquired faciIe confidence ir tine tech
niaue which forms SO important an
element in the equipment of a classic
star.
Fair and Warmer" repeated the good
Impression IL made as rather re
sponsible form of diversion on ips
pr.yious visit a few weeks ago. In the
natter of patronage IT took unto 'tseif
most of the warmth and left shake
speare business to content itself with
the bulletin Fair.
The interest in Shakespeare lately
manifested justifies the hope that the
bard of Avon had returned to a per
manent popularity. despite the groom
which pedantry has conspired to cast
over the dialogue, tossed on: the
Baconians insist. as the sprightiy re-
taxation of master mind at play.
When the Shakespeare wave that mas
swept the country was commented oni
TO Marc Klaw. as evidencms re-
yiyal of public taste for Ehzaoethah
literature. that eminent cynfc re
marked: shakespeare is absolutely
reliable as a popular hit-every 3oo
years
During his stay in Washington Mr..
Manteu spoke with frank disappoint-
ment of the popular attitude toward
the legitimate drama in Its h1ghes.
English speaking form. He questioned
the practical benefit to the theater TO
he derived from the organizations
whose purpose is to promote interest
and assist appreciation of the drama
~ an art and an ethical influence
Like every seasoned actor, he REGARDS
the stage as a profession worthy to
absorb the complete attention ana
talents of any mentality Casual and
dilettante interest is resented. Inc
footlights are to him the magic circle
within which stands the authority OF
tradition empowered to launch curse
upon the indiscreet intruder. even
though she be a society lady wearing
tiara.
The views Mr. Mantell expressed so
frankly to friends in this city reflect
those of David Belasco. who. in New
York paper, expands in protesting
comment over half a page in discussing
the small independent enterprises.
Ihich he regards as menAces rather
than encouragements to the legitimate
theater.
The system which Mr.. Belasco now
defends is the same one which ne VIZ
ater was more or less an independent
local institution To the painstakine,
conscientious work by combined talent
and experience in the commercially
recognized producing circles Mr.. Be
lasco refers in a spirit or generous
generalization which gives all current
producers share in his own dfstinc-
tion. He credits them broadcast with
the same proficiency which marks Be
lasco productions.
X =
The theater itself has been a great
influence in effacing the boundary line
prrh
instead of confning itself to a discus
sion of merits has sought the artificial
exploitation of social activity and mas
not hesitated to expose the seamy side
more likely to interest than did the IL
fusion oh. press agent, How much
have YOU to answer for! Even Belasco
himself employs you!
The point Mr.. Belasco makes most
emphatic Is that these incidental enter
prises tempt enthusiastic writers con-
stzntly on the alert for the develop
ment of something original and worthy
and American to go too FAR in. prais-
ing histrionic demonstrations apart
from the recognized sources of theat-
rical supply. In spirit OF fostering
solicitude. extraordinary genius is dis
covered by friendly eyes in perform
ances whose greatest merit is often
their display Of courage. And COM
mercialism Is vice which the inde-
pendent enterprise. though hating 1t at
FIRST sight. too frequently endures. then
pities. then embraces The newcomer.
welcomed at the outset as spon-
taneous expression Of the amateur
spirit in it's highest and most idealistic
aspect. gathers unto itself scrap book
of press encomiums which put to blush
the seasoned advertiser of a staple
article. The group of student expert
menters. laudable In their quest of
practice well as theory. becomes
Immediately no longer an expression of
scholarly research. or wholesome diver
sion. but n competitor of that most
unconpromislns and relentless rival.
the professional theater. II Is irritating
to the professional stage: not infre-
auentiy IL Is destructive of the ideals
which the student is permitted to en-
tertaiD only in case he contents him
self with book or program and does
not seek TO penetrate too far into a
realm of jealousies merciless as they
are petty.
Acting rs a very easy thing. Whist
r. one of the simplest of games in
theory. In practice whist develops
nlceties which only expert study can
perceive. Everybody can act. Peter
Ounce and Snug. the joiner, proclaimed
II in The Midsummer Nights Dream"
Few people act well. and of these few
"A large percentage never have the
fortune to find a role which enables
logical barrier that marks the boundary
between abundant mediocrity and rare
greatness.
Should the veterans of the drama
prove able to quench the histrioDic
zeal of the non-professional they
would probably deprive the theater of
some of its most valuable coordinate
Interest. an interest which is not to be
censured because il brings its SINGER
est f&ttery in imitation. The actor
and stage manager may. however, per-
form praiseworthy service in recip-
rocatine the criticism expressed by the
Independent and Indigenous drama thai
has sprung up throughout the country,
with the reminder that overconddence
7nd iniutiieious publicity may be harm
ful Ths greatest actors have con-
fessed TO a stage fright unknown TO
many an inexperienced performer.
Tlere is thrill in standing before an
nsssmblage as the momentary object Of
concentrated attention. Like every
other form Of exhilaration, it is not
free from penalty. This penalty is paid
Us the high-strung. artistic type in the
agony of self-consciousness as an cx-
agSerated sense of responsibility
sweeps over him. For the less impress
stonable. the responsive personality.
TIE penalty is reserved. He gets his
next day when some cold-blooded, hon
est friend or relative tells him candid
~ how he looked and sounded There
Is this to be borne in mind by the Be
iaScos and the Manteils Were il nor