The sun. [volume] (New York [N.Y.]) 1916-1920, 1919-03-30

toward that particular type OF play be-
fore the curtain rises on the first act
There are, OF course, many plays
which have little or no appeal for the
customary FIRST night audience In the
New York theatre. but which do have
great and lasting appeal for that
vast majority Of playgoers in New
York and elsewhere who make the
are represe ntative OF every phase OF
American life.
But regardless Of whether OF not
play Is presented on Its hrst night
to an audience staged as carefully as
the play itself, there Is no question
that n worthy play will win despite an
apparent lack Of appreciation on the
part OF the people who view It at tho
opening performance. This In many
cases, however. Is true only when the
producer has faith in the play and
means sufficient to advertise and put
before the great playgoing public the
merits OF his attraction.
I'm my own experience ] have pro-
duced many plays which have won
substantial suocess. but which on the
first night were not received with any
blare OF trumpets or the quality Of
acclaim felt they deserved. The best
proof Of the fact that after all COM
paratlvely little matters II the play
be good Is that shakespeare can be
presented AZ successfully with tho
most simple settings as with the most
gorgeous scenic equipment ever de-
vtsed.
III play is worthy and its producer
has faith In II and funds sufficient
to back that faith, he can almost in
variably turn what may have been in
the mind Of the first night audience
a failure into substantial and lasting
success. But this is a rule that works
both ways. for II has been fully demon
strated, and regardless Of a first night
verdict that may have been favorable.
that It is impossible through adver-
Using or any other means to make a
play which does not possess In suf
ficient measure those basic qualities
which ever spell success In the the
atre."
Edssr selwyn's Idess.
Edgar Selwyn, theatrical manager
and as we'll both playwright and actor,
talked with THE Sun man OF audiences
as he saw them on a first night.
"In the first place." said Mr. Selwyn,
'i. 10 practicable npossib'e 20 scner
alize about a first night audience.
never saw two quite alike--and I've
seen great many,
THAT fact alone. It strikes me
makes It rather waste OF time for
either a manager or an author &c
hope fer a particular kind OF frs
night audience. They both may as
we'll shut their eyes and trust to luck
The audience which assemblies to See
the play Is certain to be different from
whnt they expected. no matter just
what they were looking for.
And besides l don't believe there
ever was or will he a play that was
killed by an unfriendly first night
audience. Neither can you convince
me that the most friendly crowd Of
first niEhters in tho world can make
a play. I'll admit there Is soma slight
| chance OF argument as to the first
proposition. What really does harper
Is that the success OF play may b'
retarded somewhat by an Indifferent
reception on its opening. But tf /: /
good inherently 1t is bound TO succeed
1t can't fail.
And that suggests the only kim
OF first night audience manage
really need fear. II his play Ia ~
poor that the people who so to thu
opening are plainly hostile II is Jus
as well for him 70 discover the fac
promptly.
when he feels confident Of hi
play. however. and then offers It 10 al
audience that in just Indifferent
neither friendly nor hOstilc--he ma!
well worry a tribe. Like a famou
circus man once said to newspape