Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1918-10-05

with that entertainment an exemplifica-'
ton OF artistic playing and workmanliks
development of plot, 1t adds 20 much 10
the plcasurc of the excursion, but 10
have play without those elements spells
certain failure
And propaganda plays have failed
and failed for that very reason The
public does not go TO the theatre TO
he preached to. II they want preach
ing they go TO their churches. II they
want instruction they go TO schools and
universities and Chautauqua courses
but when they go to the theatre and
find they are being preached to they
resent It and soon the propaganda play
goes its way into oblivion. with the
late but unlamented Big Chance" as
glaring example.
IIIARTMES generally spell prosperity
w for the theatre, hut that prosperity
only comes after the general public
has adjusted itself to the unusual con-
ditions brought about by the conflict.
Since this great war started the theatre
in this country has been generally pros-
porous. In New York last season they
had one of the finest and most pros
porous seasons in history. In Phladel-
phia. Boston, Chicago and other cities
where the war had brought much work
IN the smaller cities and towns which
were not touched by this good fortune
things did not go so well.
Nov that we have been in the war
" for well over year. the theatrical
prosperity has become more general, bu.
strange TO say New York has had thus
far one Of the worst seasons in many
years. There have been more failures
there than ever before recorded There
are several possible explanations for
the condition one is the number OF
| theatres, and this brings in its train
hastily made aud ill-considered produc-
tions. Plays, which, had there been no
theatres to fiji, would have never reach
cd production are announced, opened ana
! closed in such rapid succession that IL
is difficult to follow them. But the
plays that succeed are enjoying unusual
patronage, and it would have been these
same plays which survived if the others
mad never been produced, for the sue
cesSes are fundamentally right They
succeed because they give the public
something that that public wants
'FTNHERE has been much talk of the
/ i Commercial theatre" As a matter
| of actual fact the thcatre which does
| the best work is the selfsame commercial
| theater The boNoflice is AN infallible
/ barometer of the worth of play. To
/ he sure, there may he some plays with an
| appeal to special clientele which are
worthy and do not succeed CONNER
cially. and yet are artistic successes But
those plays never touch the real heart
Of the people.
]
l. You cannot make a popular book out
| of q dry and dusty treatise on some
abstract subject. Nor. as a rule, is there
an effort To do so. When such works
/ are published they are for the select
rev and those select few find them
! Why should the theater and its work
| be any different? Yet in spite of this
| there is a well-defined movement. gener-
ally headed by folk not in touch with
the great public at all, to force upon
the producer the production of plays
Whlch have no wide appeal That the
movement has never accomplished It's
| purpose bespeaks tho sound Judgment
and human impulse of the often reviled
commercial manager
DHILADELPTiIA has enjoyed consid-
l. cradle variety since the beginning of
the present theatrical season IL has
seen gorgeous spectacular fairy tale
| IN "Chu chin Chow" n merry musical
play in Leave 1t to Jane" an exquisite
| example of playwritng and playing of
an older day in ~ Marriage of Con-
Venience.' comedy of racial type in
business Before Pleasure" a melo-
drama with exceptional acting with Guy
Bates Post in THE Masquerader," and a
remarkable exposition Of theatric mech
anlsm in Tiger Rose" We shall have
to live On the memory of these things,
and the future prospects while we are
doing penance Of abstinence and fast
ing for theatrical fare.