Evening star. [volume] (Washington, D.C.) 1854-1972, 1923-04-15

MO matter how many names are con-
~ nected with an enterprise, or
movement, there can usually De
found the name of one person. or per
haps a small group. who is responsl-
BILE for the conception and the build
ing of the affair. Such has proved to
be the case with the American Ma
tional Theater, a new theater ven
ture which makes its bow to the
country Monday night at Polls The
ater with the production OF "As You
Like It." A wonderful production, as
to cast. scenic and costume investi-
those who purvey the advance news.
The beginning will be suspicious
enough, II the signs do not fail;
whether the purpose will be accom-
plished or not remains to be seen.
Indications are that the rocks that
have wrecked SO many of these en-
terprises have been removed from
the start. From this new movement,
contrary to most of the others. is not
a rebellion; it is a movement within
the established theater. that is, it is
sponsored by fifteen of the leading
theatrical producers of the country,
under the guidance of Augustus
Thomas, their executive chairman.
spring, says:
1T have been associated directly or
indirectly with most Of the Few at
tempts for National or Art Theater
in New York. made in the city in the
thirty-eight years I have been there.
I believe ] was the first man who
was asked to become associated with
the New Theater, now known as the
Century. 1t was too big for its pur-
pose; some of US knew it before it
o,,I
enter into the project But tnat Is
past.
"There have been several attempts
since. One remember. was inaugur-
ated by the same public-spirited m men
alter. But their plan for financing
was not sound, theatrically. They
expected too much to be done with
| the moneyat hand. Bricks and NOR
tar weighed the project down. s
envy Of Arts and Letters wanted to do
i. something for diction in America.
William Gillette and myself were ap-
pointed as a committee to devise
we concluded that the best way would
| be through the theaters OF the coun-
| try. We knew that it would be good
publicity. but little else to award a
| medal each year and pin that on the
coat Of some actor who possessed
4
way Of organizing the little theaters
| throughout the country. But that
would not help us unless we could
centralize the movement, have a
source.
"The greatest problem for the little
theater is plays: the little fellow can
not afford to pay royalties for the
current successes. SO we thought Of
asking the theatrical powers for the
use Of q certain play every year that
would show good diction to America
and pass that play on free Of royalty
was in 1921. mention that because
It was before I had been asked to as
sumo the executive craftsmanship of
| the Producing Managers Association.
| ''Then we began to interest the uni
versities. There are several notable
groups in the universities Of the
country. The universities responded
| readily, and the thing began to take
shape. The. plan was for a central
l production IN New York. with the
l stage manager or director Of the local
group coming TO New York to study
| the play. then going bach to his group
and endeavoring to reproduce what
he saw aud learned In New York