Evening star., 1925-12-06
Authors, Producers, Players
And Especially Stage Hands
By Ph;1ander johnson.

IT L DOtdnc>S with which COmpdrl-
i son Is invited by theatrical pro-
ductions with literary productions
Uho>c merits survive the lapse OF
time becomes more and more mat
ter OF surprise Smartness OF speech
or dignity OF thought are but slight
~ considered. as the public has
been gradually trained into the ac-
CcptanCC OF any sort OF language
-"hich serves 10 keep the action 60
ing and relate a story. For while
IT was relief to get away from
stilted artitlciality and sentimental
ism. Many d play depended for its
popularity upon some catch phrase
This style OF drama reached its cul-
nination when BARLEY Campbell's
White Slave proclaimed from the
biilboards rags arc royal raiment
when worn for virtues sake" And
# the dead-wall advertising was cf-
feCtual it would seem that people
crowded the theater not for the sake
OF any mystery or surprise, but in
order TO hear repeated by the hui
man voice a line which was already
universally familiar in print
= =
I he hcroics OF the theater are not
well expressed at the present time,
and when a play like Seventh
Heaven tells. with suggested note
of sympathy. a story OF Partisan
sIuns, it needs something OF the i'll
tenSlty OF word painting in its dia-
Ioguc that would recall, at least
faiutiy, the mastery expression OF
Eugene Sue, or Victor Hugo himself.
Seventh Heaven" is an elaborate
work or the French melodrama
school. but il lacks the ringing
phrase which prevents familiar SEN
t'mcnts from striking the ear only
as commonplace remarks.
Md il the hcroics OF the lnelo
drama are feeble. the wit OF the
average musical show seems but an
attcnuatcd shadow when brought
. INTO comparison with Checvcr Good
win. {. NJ. ). Mcclellan. not to men
non W s. Gilbert \ phiosophic
mood Is absolutely essential TO any
consistent enjoyment of theatrical
entertainment a $ il is now mauufac-
rured. Eut II is irritating TO de-
gree which detIes repression to hear
~ ONE jmpromptu pianist. who has
never been a serious student OF
music, transforming ilnpcrfectly re
ncmbered tunes into ragtinc and
asserting with rompous solemnity
that he j, engaged in creating AN
American school OF music
:" :: :
he emptiness of thought has
called for more aud more artifice in
promoting the thcater. until about
two-thirds OF It's entertainment now
consists OF publicity and scenery.
The stage hands have been quite as
prompt TO realize their importance
as is the actor who has made an ,ln-
expected hit They express their
feelings in the same terms, and not
4 season passes which does not find
the managers and scene shutters at
odds. One such deadlock was dis
posed OF last week IN the usual mali-
ner--a raise in wages. The influence
OF the stage hand on American
drama would be worth d lecture
:: :: :: =
The evening clothes Hamlet pro-
duction. which tlickered out and
then rekinded. created hope of
drama which would case cvcrybody's
mind by dispensing with elaborate
stage settings and extravagant cos
turning 1t is possible to persuade
the playgoer to set the scenes largely
with his own imagination II the au
thor's expression and the art OF the
PLAYER arc sufficient to hold atten
tion spellbound. Ben Greet present
Cd Shakespeare very successfully
with but little scenery. aud II IS a
rclicf not to see 4 castle wall
nishung so that ii threatens TO re-
-cmblc instead OF solid masonry all
exaggerated specimen OF knife-bladc
pleating
Since the rhetorician is excluded
from the stage TO large extent, the
most elaborate mechanisms. devices
OF ornament and physical demon
~tration. whether OF grace or OF bu1-
ioouery, become necessary. The
highest craftsmanship is demanded
ior the correct coordination of all
The resources which opulence OF
treasury makes available and lndi-
utucc OF imagination renders neces
,arv. The producer who possesses
rhi> craft smanship in the highest dc
cree is Mr. Belasco. who has also
The exceptional advantage Of ca
.ccr involving association with the
strongest literary traditions OF the
Stage. He knows every trick lnvolv-
;ng the management not only OF
stage .nr.cce-ties but OF voice and
.csturc Perhaps more fairy tales
.-x.> hoc,, told 1ho,1t Re SEQ han