Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1917-12-22

9ap 10th J2as5
W@ cMc

under which the greatest uncertainty
| as to admission prices prevailed.
At many theatres the best seats, II
procurable at all at the box office, were
| sold at an advance of from fifty cents
/ to dollar. Usually the spectators
had the entire cream" of the parquet
for which a still higher premium was
charged. Contributing to the general
confusion was the "cut-rate" system of
/ prices, widely prevalent in New York.
but less evidenced here, whose operation
permitted the striking Of theatrical bar
/ gains for productions of mediocre draw
| ing power on "off nights" The wise
/ footlight devotee knew how to profit
by this arrangement. The uninitiated
was regularly "stung'" at the box office
Theatre prices oscllated with the
| rapidty of the stock market. The un-
| fairness Of such confusing methods was
| indisputably much worse than had any
| rigid, invariable general increase OF
/ prices been made. as in other lines Of
| business, and definitely and openly as
| crbed to the rise in labors wages and
the higher cost of all materials in war
| time. Uncle Sans tax simply brought
the long standing abuses into a painful
prominence which they had never before
experienced. Theatrical men are pro-
| knowledge dawncd upon them that their
business was in a parlous state. with
/ this conviction was coupled the fully
| justified belief that stage entertain
| ments may become an INDISPENSABLE
| spiritual and re-creative stimulus in
tragic era and that patronage may he
successfully maintained. as 1t has been
| In Paris and London. by square deal
| ing.
Naturally the crisis las displayed its
| quota OF managerial Quarrels. The re-
| sulting disclosure OF irregularities and
! the long stifed spirit Of competition
arising from such ructions are advanta-
geous to the public in much the same
| way as split in political ring. Again.
| New York and Philadelphia have been
! the principal storm centers and the New
| Year will probably see an alignment of
! forces, each endeavoring to play fair
with theatre patrons and adjusting them
! selves, as other businesses have largely
| done, to the demands of the period. II
| the playhouses are to survive their crisis
greater discretion in selecting offerings
must be exercised. the price system must
! be aboveboard, and the amount of new
productions must possibly he reduced.
Chances will still have to he taken
| with the vagaries of the public taste.
! Good art is not always recognized, but IL
will assuredly have better opportunity
| for existence when healthier methods are
instituted, New York has had at least
| two undeserved failures to It's credit this
| year They are the vividly imaginative
! Scandinavian play, "The Deluge.' and
! Henri Battailies powerful and techni-
! Cally expert psychological drama, The
Torches" Philadelphia failed to recog-
| niZe the artistic worth and exquisite
| poetic beauty of Peter lbbetson" and
. .sl.-p f,-
played comedy. The Boomerang" missed
! the fun measure of deserved appreciation
here by large margin. Whether pub
! lie less wearicd by some of the abuses
cited would have been more interested
! in these offerings than was actually the
case cannot of course be proved. The
| situation opens a legitimate field for
| speculation.
| AS REGARDS box Office prices, the
! "A leavcn OF the general "shake-up' e
already at work. Whether the dollar
and-a half top scales now in vogue at
| the Chestnut Street Opera House IL the
result of n compromise between war
| ring syndicates or is actually an eX-
| hibit of discernment with respect to
present conditions is not a matter of
public record The wisdom of the move
Z
mends itself to the public as a return
to normality. At the Metropolitan
Opera House, by "A fiat from perspica-
ciouS Morris Gest, who controls New
York's Manhattan Opera House, the 25-
cent gallery. a Philadelphia institution,
formerly conducted here with great
profit to both managers and amusement
lovers, has been restored for the fort
nights engagement of Experience
During Christmas week the Garrick viii
offer dollar matinees' for that very
popular American play, Turn to the
Right"
Under such circumstances patrons
should not seriously mind the war tax
IL does not seem to have worried them
greatly in New York at those theatres
which have adopted lower prices within
the last two months.
LNROM the managerial side complaints
J. Will be Forthcoming 20 the erect
that many productions are now luxurious
and expensive where once they were
meager and relatively plain and that
lower admission charges are thus OUT
of the question. The answer Is tnat
uodesty of investiture, provided the
imaginative material, the acting or III
some cases. the music be adequate, Is
Nlikely to be condoned II reduced prices
frankly prevail and speculation be
/ crushed. -
The American public needs the the
atre now as it has not for many
year Its appeal is potent and universal
Its prosperity. as In other enterprises
in critical days. is highly desirable
Surely no lover of the stage can desire
impresarios to bankrupt themselves by
demanding sacrifices wholly discordant
with honest financial judgment. Unless
the Government takes up art, as II does
! i'm France, the theatre must rank as
business TO be conducted along business
lines. Wisdom and vision, however,
may be proftably and meritoriously in
| iected into its conduct. The prospect OF
a new policy's enforcement is brighten
ing daily WAR is kind said stephen
| crane. II. 7. c.