The daily worker. [volume] (Chicago, Ill.) 1924-1958, 1927-05-28
~ DRAMA III
The Neighborhood Playhouse
Says Farewell

this year, which means that it had
it's beginnings long before that. It's
history goes back to the gymnasium
days in the Henry Street Settlement
where the children of the neighbor-
hood first engaged in festival dances
and rituals under the guidance of
Alice and Irene Lewisohn. In time
the gymnasium proved too small for
its audience and the next stop was
Clinton Hall And by the time 1915
came along Clinton Hail had proved
inadequate, and the idea Of The
NeighbOrhoOd Playhouse was given
physical expression in the form of the
present completely equipped little
theatre.
COIOrfuI History.
Such, in brief, Ia the history of the
Playhouse in its amateur days; and
the record since its emergence into
the ranks of professional theatre
marked by the production in 1920 of
Galsworthy's 1.-THE Mob" and the es-
tablishment then of the permanent
acting company-is so eventful that
. recital of its activities must be
limited to the main currents which
have led up to its becoming the first
professional repertory theatre of the
present day in New York.
In twelve years it has produced
more than seventy-five plays, panto-
mime ballets, folk plays, folk festi-
walls, and ritual festivals, of which
some forty-five were produced for the
first time. II has presented to its
audiences such distinguished guest
artists as Sarah CowelI lie Moyne,
Ellen Terry, Gertrude Kingston, Ruth
Draper, Yvetter Guilbert, Emanuel
Reicher, Michio Ttow, Roshanara, and
the Egyptian dancer Nyota Inyoka.
Most singular perhaps of all is that
it has consistently adhered to a policy
of growth through experimentation,
and in doing so has built up its own
persOnnel--its own permanent acting
company, its own directors, costume
makers, scenic designers, its own
workers in every branch Of the the
atre.
One Of the most interesting theories
which it has assidousIy practiced,
has been that concerning the develop
ment OF the actor and his relation to
theatrical expression. Believing that
q theatre which aspired to give its
audiences a wide choice of produc-
tions, not only in the field of straight
dramatic expression but in Lyric
drama as well, The Neighborhood
Playhouse has sought to develop it's
actors not merely in their capacity as
individuals but as members of a group
whose ideal is to work together har-
moniously, intelligently and crea-
lively.
Art Of Theatre.
For the really valuable thing about
a permanent company is the expert
ence which each actor gains through
doing variety of things. 1t is this
experience, endlessly sought, which
enabled the Playhouse to achieve the
authentic mood in such widely
0lfCLSltSu PNOuU~LtOila dSy IOI eA-
ample, ''The Dybbuk," 1.-THE Lion
Tanner" "Guibour," 'fPinwheel," and
the lyric dramas. The art Of the
theatre is composed Of number Of
elements all diversified and yet so
intrinsically related that a production
must Inevitably weaken at one point
or another if these elements, i.e., the
acting, the costumes, the scenery, the
stage properties are not conceived in
the spirit and mood of the play itself.
Ideal of Playhouse.
The ideal of the Playhouse has been
constantly toward new forms, Of which
the dramatic version of "Salut au
Monde" with it's synthesis on move
ment, speech and song, is typical; for
it is only through experimentation
that dramatic art can be kept vital
and fluid. In adhering to this aim,
the organization, from the beginning,