New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-10-26
K. II. SOthern Breaks
A Lance i'm Defense
OF the Costume PIay

+. II. Sothern, who, with Julia Mar
rowe, begins the last week of the
Shakespearean season at the Shuhert
lheater to-morrow nioht. has, PERHAPS.
appeared in more costume productions
IMAM most actors of the present day
American stage. Many of his most
popular roles are those which were
clo'hed IN the dress of past era. And
1t was Sothern who was the LEADING
man OF the Lyceum Theater during the
most prosperous epoch of the costume
play.
y have been told that the public is
ciamoring for the costume drama"
Sothern said to the interviewer. "But
l nave never really understood lust
what the opposition to the costume
drama has been, unless that the PLAYS
IN question We're not good. If p]av
is good, why, isn't it better if it is
written IN poetic speech and dressed in
beautiful costumes? 1t is said that
pays go IN cycles and it may be that
me wheel has turned round again TO
the costume drama, but | have ALWAYS
lound good play was a good play and
caught It's audiences regardless of IT'S
period: Costumes have never hand
capped but. rather, have aided PLAYS.
Inc chief difficulty with the cos
tume production is in the casting. for
the requirements are different and de-
mand more of the player than the
modern piece. In assembling our casts
TOR the Shakospcarean productions this
seaso" we endeavored to organize a
company OF the best available peoplc
q TASK so dIfficult that we wish the pub
nc knew more OF what is required for
even an adequate performance of a
classic. If an actor has had Shakes
MN IN costume or poetic drama. we
can Judge more or less of his abilities
Dut no one can tell what an actor can
40 IN classic drama by talking com
monplaces with him in a drawing room
lhere is no guide to the problem in
seeing HIM in modern roles. We inter
viewed many players, young and old
put the test always remains in actual
per ormance. Even rehearsals will fail
70 oflhg out Deficiencies, for PLAYER
may be able to read and sing and dance
we'll, but when it comes to manaonn
costume we may at the last moment
lind him sadly wanting.
Il recall that once we engaged vonno
actor who stood very high in modern
drama and was generally looked upon
as potential star. We were ali de-
lighted with his rehearsals; he smoke
clearly, sensed the poetry of the lines
was natural, graceful and gave rare
promise. but. alas, when he put on his
costumes at the first dress rehearsal
ana walked across the stage we saw in
a flash that he would never do II was
a most difficult moment for all of us
we :elt the situation more keenlv than
me- but what could we do?
This adds a handicap to~organizino
our companies. We must engage our
players three or four months before re-
hearsa's begin. so that they may have
time to study their roles and be ready
for intensive work when the period Of
rehearsals is called, for we have only
the tour weeks allotted to any single
production for rehcarsing repertorv
or three or more plays.
We spared neither money nor Mains
put with the present state of acting on
the American stage and the lack of
preparation of the young men and
women recruited to the theater the
lack of opportunity to train themselves
TOR serious work. it is indeed a serious
problem to assemble a Shakespearean
organization and not one to be lightly
and sarcastically dismissed bv tho
playgoer who runs and sees all tho
irst nights that manage to accumulate
N New DIRK in a single season.