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The Guthrie daily leader. [volume] (Guthrie, Okla.) 1893-1996, 1918-05-24
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The Guthrie daily leader. [volume] (Guthrie, Okla.) 1893-1996, 1918-05-24

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The Guthrie daily leader. [volume] (Guthrie, Okla.) 1893-1996, 1918-05-24

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The Guthrie daily leader. [volume] (Guthrie, Okla.) 1893-1996, 1918-05-24

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The Guthrie daily leader. [volume] (Guthrie, Okla.) 1893-1996, 1918-05-24

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New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-07-28

associated has demonstrated it's public
appeal in his stock theatre in Los
Angeles before presentation as a pro-
duction. Stuart Walker and Russell
Janney were quick to recognize the
value of such system and drew
Seventeen" from the crucible in which
they did their dramatic assaying at
indianapolis little over year ago.
The success that seventeen" has
scored in New York demonstrated the
wisdom of acceptance of the verdict
gained by stock presentation.
What is probably the most ambitious
undertaking of this sort ever attempted
in America is now drawn to close
at Milwaukee, where Russell Janney.
surrounded by producing personnel
that would be difficult to excel on
Broadway, has made five productions
in seven weeks at the Pabst theatre,
in addition to trying out two one-act
plays. At least two of these plays
"The Garden of Paradise" by Edward
Sheldon, author of Romance" "The
Niger, etc, and David Grayson's
"Hempfield", dramatized by Charlotte
Thompson, are scheduled for Broad
way and for presentation en- tour.
Although Milwaukee is ordinarily a
three-night stand for standard priced
touring organizations the patronage
drawn by these two offerings COM
PEELED a run" of two weeks in each
instance, an omen seized upon by the
management as most propitious.
The seriousness of purpose with
which the Janney experiment in Mil
waukee was undertaken is expressed
by the personnel with which he sur
rounded himself. All productions we're
made under the direction Of Oscar
Eagle and Robert Edmond Jones, the
former long associated with David Be
lasco as stage director, and the latter
with Arthur Hopkins, the Metropolitan
Opera House and the Ballet Russo
Norman-Bel Geddes, of the Metropolis
tan Opera House, has arranged the
settings and lights, Robert Bergman
executed the settings and decorations,
and Frances Broisch, long of the Be
lasco forces, made the costumes. Emf
ly Bigelow Hapgood has exercised sup
ervision over the technical features of
production and Constance Collier, Ed
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-07-28

that the question of the future of
music doomed largest in the educa-
tional field, specifically in the peda-
gogic, leaving out Of the equation the
influence Of operas, which has al
ways been greatly exaggerated, and
of high-class concerts, which are in
dubitably of the highest value.
AS soon as the war broke out
America was called upon not only
to alleviate want and suffering
amongst the warning peoples, but
also to give hospitality and support
to horde of invading artists and
teachers who had hitherto earned
livelihood in Europe. What was
then looked upon as a temporary
harm has now become the home of
hundreds, if not thousands, who are
not likely to return to their devas-
tated and impoverished countries
after hostilities cease unless it be to
enjoy in ease and idleness what they
have acquired here. Whether their
coming and their staying will work
for the material or cultural good Of
the American people remains to be
seen. One effect has already been
felt: if the cost of musical tuition
has not been increased to the student
the remuneration of the teacher has
been lessened. There does not ap-
pear, however, to have been o
marked decrease in the number of
students in the larger institutions
as yet, though falling off is appre-
hended as the need of practising
economy grows, the cost Of living
increases and the tax on incomes ad-
vances. This decrease is not likely
to be offset by the cessation of the
exodus of American students to
European countries, which was
never so great as to form a factor
in the economic sum and was looked
upon as negligible in the artistic.
The fact that a large number of
foreign virtuosi of the first rank
took up a residence in America three
years ago and have remained here
was not looked upon with disfavor
at the time, though it was feared Cat
least / so expressed myself in the
educational supplement of The Trib-
une published in October, 1850
that their presence would lead to a
plethora of concerts which might
initiate to some extent against their
educational value. The apprehen-
sion has been fulfilled, and there is
no qualification to be derived from
the fact that some of them with
Slavic names have intrenched them
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-07-28

ward Sheldon, Charlotte Thompson,
Alice Kauser and other dramatic writ
ers have remained with the company to
lend their cooperation.
The players have included Alice Au-
garde Butler, Julian INSURANCE. John
L. Shine, Walter Lewis, Constance
Collier, Edmund Elton, Cecil Yapp.
Irene Haisman, Cathleen Neshitt. Gilda
Varesi Wallis Clark, Alexander Ons-
low, Frank Sylvester, William J. Phin-
ney, Beatrice Beckley, and an array of
less widely known artists.
The Janney season at milwaukee,
opened on June with a revival of
"Fanny's First Play" and Zoe Atkins
sketch, "The Magical City" The next
offering was revival Of "Trilby"
revised by Constant Collier, who
played the title role. 1.-THE Garden Of
Paradise" was next given. This specta-
cular presentation involved nine heavy
sets, three depicting the bed of the
ocean, and is said to be the largest
production ever attempted by roper
TORE company. Because of the dis
cussion along the lines of comparison
growing out of its previous brief pres
entation by Liebler in New York with
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-07-28

the orchestra, Mr.. c. A. Ellis, who
retired from his post when Major
Higginson turned the orchestra,
which he has maintained since it's
beginning more than thirty years
ago, over to a committee of manage
ment. Mr.. Ellis read the letter of
the Springfield ladies, and because
none, or but few, of them were sub
scribers to the concerts pocketed the
document without communicating its
contents to DR.. Muck.
A storm blew up at once in the
other cities which the orchestra was
accustomed to visit, but was meas
urably appeased by regular per-
tormances of the hymn which with
out official sanction has been made
a national anthem. Stories Of his
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-07-28

change in the character of the PLAYS
offered. The trend of the times seems
to be eloquently manifested in the
fact that many of these are new--ob-
vlously ali effort to try out dramatic
material Sefore unprecedented paid au
dlences prior to taking the big specu-
latlve chance involved in a special pro-
duction fer metropolitan presentation.
For years American managers have
gradually standardized their efforts to
a two-weeks try out in cities adjacent
to New York before submitting their
wares to the death watch" that lives
and breathes and has its being on
Broadway. The physical production,
salary charges and incidental EXPENSES
to be reckoned with when the curtain
rises for the Broadway premiere may
be anywhere from $4,000 to $4,000
usually nearer the latter figure than
the former. When the verdict is
reached the following day the pro-
duction may be call set" for a run or
on its way to the storehouse with the
investment practically a total loss
British producers have never taken
kindly to such haphazard methods.
For many years the successes of the
English stage have to very large ex-
tent had their premiere presentation
by what may for convenience be termed
stock companies-principa Miss
Hornimans Manchester Repertoire
Company. located at Manchester, Eng
land, and an organization known as the
Incorporated Stage Society, of London
After such presentation they have been
Withdrawn for alteration, cutting down,
rewriting and such changes in light
| ing, scenic investure, plot and situa-
tons as The experiment suggested be-
fore being offered for formal presen-
tation.
One New York producer, Oliver
Morosco, has consistently adhered to
this method through accident rather
| than choice by virtue of the fact that
he was the proprietor of stock COM
panies in the Far West. Practically
every success with which he has been
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-07-28

Urban decorations, Chicago managers
and critics journeyed to Milwaukee in
a body to view the performance, en-
gaging a special car for the purpose.
The next offering was the first Ameri-
can production in twenty years of
Oscar Wilde's "An Ideal Husband".
which was made through arrangement
with John D. Williams, who plans to
present 1T in New York during the
coming season and desired to take adj
vantage of stock tryout with an all
star cast.
The final production, "Hempfield",
is now in its second week and Lord
Dunsany's "a Night at an Inn" has been
added as curtain raiser. New and
special music has been provided for
each offering and in every department
such painstaking care has been exer-
cised that the good folk of the city
made famous by beer have been repaid
for sitting as a dramatic clinic by per-
tormances which from the standpoint
of cast and direction would be very
hard to equal in the realm made fam
Gus by the dazzling whitelights.
AS the fruit of this experimentation
"The Garden of Paradise" will be pro-
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-07-28
Making Stock Succeed

Evolution, powerfully imposed upon
the American stage by the exigences
of war and by the unseen forces re
sponsible for the ever-changing stage
standards, appears to have not only
restored the stock company to its once
proud place, but to have given it new
function and Importance. The present
summer has seen the establishment of
an unusually large number of dramatic
stock companies at widely scattered
points and also the universal adoption
Of plan of constructive development
new to this country.
Casts Of high caIibre utterly I'M
heard of in the old days of stock
popularity are one feature of the new
order Of things, but even this inno-
walton is of secondary Importance in
comparison with the revolutionary
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-07-28

been no stirring of the large pool,
but only a violent agitation of the
little popular puddles.
The functions that have been
seriously affected are those of the
teachers, the concertgivers, the
opera companies and their forces,
the publishers and the manufacture
ers of musical instruments. The last
two categories involve questions
with which this review cannot con-
Germ itself for want of specific and
trustworthy data; they will provide
meat for the economic statistician
after the war is over.
A very significant question-that
of the influence of changed condl-
tons upon musical caste and culture
invites strongly to speculative
discussion, but it, too, can only be
touched upon in passing. 1t may be
enough here and now to say that as
there has been curtailment in the
performance of the worlds best
music, and no augmentation in the
worlds stock of good music, it would
scarcely be possible to argue that
America has improved in taste and
appreciation of the things which be-
long to the art. The effect has prob
ably been very much the reverse, for
the appeals which have been made
to sentiment have not had artistic
advancement for their aim, but the
creation Of prejudices and, often,
the exploitation of sordid interests.
Many wrongs have been committed
in the name of patriotism and
charity.
Three years ago it seemed to me
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-07-28
WARS EFFECT ON MUSIC Is

selves here because of the revolu-
ton against German music and mu-
sicians, in spite Of the fact that they
were VIGOROUSLY :pro-German in
their sympathies up to the time
when they found that thrift might
follow hypocritical fawning.
1t will some day cause comment,
and, mayhap, revert to the discredit
and discomfort of some of these gen.
tlemen, to have their conduct
brought into contrast with that Of
Mr.. Fritz Kreisler, who was the
first artist to be made to suffer be-
cause of his foreign nationality. Mr..
Kreisler had seen service for brief
space in the army of his country. So
long as there had been no declara-
ton of war between the United
States and Germany there was no
opposition to Mr.. Kreisler, but after
the state Of belligerency had been
declared opposition singled him out.
Contract for concert before a club
in Sewickley, Penn, kept its COM
munity and the people of Pittsburgh
in a ferment all summer. The con-
tract was cancelled and in Pitts
burgh the Director of Public Safety
called on the chief of police to pro-
hibit a concert which was to be given
there. Trouble arose in other cities
and Mr.. Kreisler, acting always with
commendable dignity and frankness
cancelled all the concerts for which
he was booked except those which
had charitable objects. After the
belated declaration Of war with Aus
tria Mr.. Kreisler publicly stated
that he wanted no special considera-
ton, but only asked that he be
treated as well as withdrawing
Germans had been treated. He was
ill-used in the newspapers and the
pulpit, but conducted himself with
the decorum and dignity of gentle
man, showing no rancor even when
he felt compelled to withdraw even
from his projected charity concerts
He thus preserved his self-respect
and the respect of all his friends and ,
many of his enemies.
This cannot be said of the two
conductors who are now internes at
Camp Oglethorpe-Dr. Ernst Kun
wald, of Cincinnati, and DR.. Muck,
of Boston. The former was ar
rested in December, 1917, freed for
time, but rearrested and informed
in January, 1918. The Cincinnati
Orchestra was booked for concerts
in Pittsburgh, but the managers re-
fused to give the concert unless an
other conductor took Kunwald's
place. His friends in Cincinnati
fought valiantly for him, but evil
dence brought to the attention of
the government, the nature of which
has never been fully divulged, led
HIM to tender his resignation, which
was accepted before he was taken to
Georgia. Rumor had it that he had
said at dinner table that President
Wilson ought to be killed and that he
would be willing to do the killing. A
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-07-28

would seem, to repair its decav;ny
fortunes and save the threatened
head of the conductor, Stranskv
found middle way out of the diff
ficulty by determining to plav m
music of living German COMPOSERS
The plan is convenient and commen-
dable and has in it's favor the eco
nomic and patriotic argument that
it is not wise to give money. com.
fort or support to the citizens of q
belligerent nation, even though thew
be abiding with US and contributing
to our pleasures.
The singers who had been dropped
from the lists of the Metropolitan
Opera Company when it was re-
solved to exclude Wagner and Ger
man performances made TODD about
it, and one of them, Margarete
ODER, sued the company for dam
ages, alleging breach of contract.
The case is pending. Nine. Cad
ski, forced into retirement because
of her husband, Tauscher's, connec-
ton with the plot to blow up the
Welland Canal, was permitted to re-
main here in affiuence when
Tauscher returned to Europe. She
kept herself in the public eye for
while, sang for the celebration of
Luther's anniversary in New York
at a concert Of the moribund Arion
Society, was announced to sing at
concert for the benefit Of the dis
missed German opera singers and
appeared, I believe, at an entertain
ment in Chicago. The rest concern
ing her is silence.
There was a large apprehension
that the imposition of a war tax on
amusement tickets, which went into
effect on November l of last wear.
would work havoc in the concert
neid, which was not realized. The
held had been greatly overworked
IN the past and continued to be over
worked down to the end of the sea-
son OF 1917-'18. In the department
OF recitals the maintenance of the
plethora was easily explained. Reel
tails by newcomers in New York are
largely advertising affairs. Those
who give them seek to obtain metro
politan publicity for exploitation in
other localities. Audiences are as
essential an element in them as per-
formers. The fear, justified by the
nature of the habitual deadhead,
that these recital goers would not be
willing to pay the tax on tickets,
was overcome by the simple device
OF having the tax paid by the con.
cert giver in great many cases.
The tax was no burden upon the
public except in the case of concerts
by artists Of established reputation
or unusual merit. In the case where
advance subscriptions had been
taken for series Of entertainments.
as at the opera and the Philhar.
monte and Symphony societies. the
tax was advanced by the manage
ments and possibly collected from
the government in the form of
rebate.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-07-28

militant gentleman was DR.. Kun
valid, without the instincts of de-
cency disclosed by his fellow Aus
trian Kreisler, or the diplomacy of
his countryman, Stransky, who
weathered the storm that blew about
his ears in the New York Philhar-
monte Society last spring.
DR.. Muck's troubles began with
his first concert in Springfield,
Mass, at the beginning of last sea-
son, the first public manifestation
being caused through the failure to
begin the meeting with "The Star
Spangled Banner" as requested by
a number of representative women
of the city. 1t was neglect, not
refusal, for which the responsibility
rested wholly with the manager of