The daily worker. [volume] (Chicago, Ill.) 1924-1958, 1926-01-09


mani: With my songs I'll try to per-
suade the critics to believe that these
actors mean well and are trying to up
lift them with their new art, which is
art with a purpose, not art as we have
had it heretofore-"Art for Arts
sake" l will make the critics think
that no other aim have these actors
but to serve the public. Should no
tice any look of doubt upon anyone's
face, I'll turn my eyes to heaven and
swear that l believe in these actors
just as strongly as trust in god. that
would not fear to entrust my life
ipto their hands.
Red Cross Nurse (Fapia Cohn):
Not pleasure alone is what the public
is seeking. There are many phases Of
life which may interest them. III read
to them some excerpts from my diary
wherein / have jotted down notes Of
the statements uttered by men on the
point of death. At the same time
I'll try to draw their attention to the
Importance of life insurance institu-
tions, so that they may forget about
the play.
The Manager (Sigman) Listening
to the foregoing becomes little self
confident, altho his heart trembled
with fear, for he knows too well that
there is nothing new to give, and that
his sole duty is to cover up the old
things): know the public will de-
tect my hollowness, for these whom
they have sent as their representa-
tives have eyes which penetrate the
thickest skull But the members of
my stan know that and will surely do
their best, for after all it is to their
interest as we'll as to my own.
(All retire, and the curtain is raised
to reveal the full stage. 1t is decorat-
ed with numerous flowers! The mo.
ment theSplayl begins, ineEitahleId down,
fall of the manager. and stan becomes.
imminent. The critics Immediately
after the first act begin to protest, for
it is obvious that this is not the
classical play supposed to be present
ed. 1t is found to be a vaudeville
comedy rather than a classic drama.)
First Critic: Shift your scenes rap
idly; let your play represent the life
we live every day. Your tricks are in
vain. Our public, as it is now consti-
tuted, with each new hour becomes
more conscious, gains new strength,
develops greater power to Judge for
itself and react to your unfavorable
performance.
Second Critic: You are but losing
time, wasting words and time, playing
with language and empty phrases.
Your instruments are no longer USE
full even tho you have given them a
thoro tuning in preparation for this
play. 1t will be of no avail to you.
For the masses do not believe any
more in hesitation. They cry: mo
more delay. no more excuse for the
stuff you promised to producer"
(The Manager turns pale and is
trembling with rage! (Aside): The
audacity! To tell me all that in plain
words so that the world may know it
by tomorrow. if not today! (He fixes
his gaze at the correspondents desk.
The curtain fall sharply
behind the curtain a panic breaks
out. One blames the other for not
having played his part correctly.
Again the curtain is raised but due to
their quarrels they become so upset
that they lose their heads altogether.
The clown not only does not amuse,
but his two thumbs clutch at each cor
ner Of his vest, his face an accurate
reflection of pain, his little mustache
lending him the appearance of a cat
that has had the mouse in its claws
but which was unable to hold on to 1t.
The manager from behind the curtain
is threatening that those who make a
wrong step in any of their parts will
be discharged)
Tho Poet (Ninfol. Tho davil with