New-York tribune., 1919-08-31
By Haywood Broun

Most Of the issues between managers
and actors from the time the Equity
vas founded until tho strike have been
economic, but one has an artistic by
nroduct. 1t is now admitted by all
concerned that it is no more than just
tkas actors should be paid for their
services during any rehearsal period
which extends for more than four
weeks. The provision for salaries after
a months rehearsing should tend to
shorten the period of preparation, and
we believe that this will improve the
standard of acting in America. In the
days of free rehearsals-dead days, we
hope-most of the productions which
came to New York were overturned.
In many plays the individuality Of the
director was imposed so heavily on
each member of the cast that there was
distinct suggestion that the piece was
. protean sketch, and that if the gray
wig were snatched off the head Of the
to be the same performer who was
essaying the role of the safe cracker.
There are a few players, some of
them prominent on our stage, who are
no more than sponges. They are capa-
bic Of soaking UP any amount Of coach
ing, but no more ever comes out Of
them than has been put in. Their sue
cess depends entirely on the chance of
whether they play under the instruc-
ton of gallon or half-pint directors.
We have seen very tolerable perform
ances by all-sponge casts, but, Of
course, no inspired ones. None which
suggested to US that acting was an art.
The best direction is done by men who
let the actor think fer himself, or, if
he is not normally given to such func-
tioning, inspire him to think.
1t is, perhaps, worth noting that
the best two productions last year were
both prepared for presentation with
less than a months rehearsal for each,
and that both were put into New York
out any cutting and hacking during
a road tryout. Cooperation between
producer and player was notable in
both Redemption" and "The Jest"
Arthur Hopkins may have sounded the
original "giddap" for the performance;
he may even have jerked a rein now
and then; but there wasn't a spur mark
onseither production.
We find we were in error last Sun
day in giving the impression that COL
lege professors had not yet had the
foresight to organize. A reader sends
us an article from "The Nation," in
which an account is given of the organ
ization Of the Association of University
Professors, which purposes to affiliate
with the American Federation of Labor.
The reader also suggests that para
graph on the men who have refused
to join the movement and their reasons
might be of interest to Mrs. Fiske,
Peggy Hopkins, Julian Eltinge and
some of the other well-known players
in the Fidelity
There were some (let us hope not
many says THE Nation" "who de-
clined to take part out of sheer COM
placency with their individual lot.
Others were deferred by a traditional
distrust Of labor unions, accompanied
by the rather frivolous fear that the
teachers might concern themselves
with such sordid irrelevancies as
salaries, or that they might even be
called on to strike sympathetically with
the Janltors' union. A greater number
preferred to sit on the fence and await
the outcome rather than to commit
themselves to doubtful cause Most
important was the codness or open
hostility Of administrative officers,
particularly departmental heads, some
OF whom gratuitously saw in the move
ment reflection on their own con-
ouct Of university affairs. Their atti
tude was instrumental in keeping at
distance many of the younger men. who
were probably overtimid in anticipating
damage to their future careers"
We were also interested in an arti-
Gle in "The New Republic" called
Plays Without Actors?" in which we
read:
What the managers have given the
american public is, with few excep-
tons, an immense amount ct business
promotion to a small accompaniment
o. art. We have had billions of cleo
tue bulbs, reams of advertising, a gal
iop of one speculative production on
Tue heels of another, and great deal
OF s'eiaque and sentimental dust This,
IN spite of Mr.. Belasco's sacrifices on
the altar of art snd Mr.. Frohman's tiny
residual estate, has been the main re-
sun OF the business of the theatre. In
seeking to be profit-producing mana
gers as we'll as producing managers the
emphasis has fallen resoundingly on
tae box office. And the actors have
'est out both as artists and employees" !"
rfhis picture seemed to US and
suii seems overdrawn, but, curiously
enough, we found an almost identical
conception of the state of the theatre
In THE New York Review" news
paper owned by theatre managers.
An average actor" saws "The Re-