The Irish standard. [volume] (Minneapolis, Minn. ;) 1886-1920, 1917-11-03


white List" of The Catholic Theatre
Movement, it must always be remem-
bered the chief consideration guiding
the committee is the morality of the
play, either in theme or presentation.
The Catholic Theatre Movement at its
inception stated that it's purpose was
to give a moral guide to the theatre,
the dramatic worth of a play. A play
may be very brilliant intellectually;
it may scintillate with wit and thrill
with dramatic episode. All of these
things may effectively contribute to
it's appeal as a play. But they are not
the elements that decide it's worth to
be placed on the white List" If a
cluded from the list. By immortality
we understand a direct violation of
the generally accepted canons of
Christian morality. And the question
of immortality, in the formation of
our judgment is concerned principally
with sexual immortality; matters that
violate the Sixth Commandment of
God; personal purity, the sanctity of
marriage; the sacredness of woman
hood the dignity of child bearing;
the worth of the family and of chill
dren. 1t is against this sort of i'm
morality that The Catholic Theatre
Movement especially protests because
it is prevalent evil of the day, and
a matter wherein the world has lost
~ c1, RI
Der the Christian standards.
Plays that might be termed immoral
because they present the ways and
means of the thief, of the liar, of the
swindler, ETC., etc., are generally not
near as harmful, because the evil is
patent to all and the play itself is
not designed to arouse base passions
in the onlooker
With the play that has a sexual
appeal the case is very different. Such
plays aim to present, under the cloak
of innocence, or good intention, the
forbidden and the sensual, the immod-
est and the suggestive. The American
theatre-going public still wish to pre-
serve an outward responsibility. They
will view, listen to and applaud words
and scenes most disedifying and scan
dalous. But withal the hypocritical
cloak of innocence must cover both
audience and actors. They wish to
enjoy the forbidden, but the relish
must be seasoned with responsibility.
Better by far to be frankly bad than
hypocritically innocent. A reading of
many plays presented this season will
give all the evidence that may be de-
sired on this point. The truth was
dwelt upon at length in a recent criti-
cism by Alan Dale.
1T will be seen from the above that
the work of compiling, the White List
is not an easy one. Many think be-
cause a play is placed thereon that
we recommend Catholics to go to see
it. We do nothing of the sort. We
simply state that it is free from gross
sexual immortality in theme or pres
entation. We don't see how any Cath
Ollie can, in conscience, give his sup
port to a play that is immoral. And
consequently we have framed and
! published this list that Catholics who
frequent the theatre may keep their
conscience clear. For every Catholic
has a grave public duty in this mat
ter. It is his duty to keep the theatre
clean; or at least in no positive way
by his personal presence or by his
money, to encourage it's uncleanness.
Now and again it is we'll to sum-
Marie the new plays to see the ten
dency or the chief characteristic of
the American stage. If We look
through the list so far presented this
season we will find that the Ameri-
can stage has little of which to be
proud and much of which to be
ashamed. Fortunately, for the future
of our country, the American stage is
no index to the character and ideals
of our people. And it is poor sign
of the patriotism of theatrical mana
gers and authors that in these days
when our men and women are sacri-
fcing all for country, giving evidence
of noble unselfshness, Of spiritual de-
votion that rises above the flesh, their