Evening star. [volume] (Washington, D.C.) 1854-1972, 1931-07-19

faithful typewriter to be further
pounded out of commission in a
vain effort to save lost cause for
the sake of soul so everlaStingly
sot and eternally agin it? Perish
the thought.
THE sexes, it must be admitted,
are the only things in this
great, beautiful world that can
make it interesting. The world,
without them, certainly cannot
be expected TO find interest in it
self. And take them. one or both,
just as they come, with or with
out their faults and their virtues,
they are mighty interesting in
themselves. Indeed, it is the sexes
who make our drama. without
them there isn't anything to
dramatic. If there were, there
certainly wouldn't be any audi
enceS to see what is dramatized
1t is the tempest in the teapot of
the sexes that makes dramatic
affinities, their contacts, their
joys and their sorrows, their trials
and their problems have ever
made our plays. We can't do with
out the sexes. Even before the
human became an element in
drama, didn't the old bald-heads
have to pluck imaginary gods and
goddeSSeS out of the mysterious
heavens with which to people the
pristine stage? And didn't they
make this imaginary personnel of
the cerulean blue wreStle and
writhe in the problems that now
aff1ict humanity alone? Certain
ly there could never be warrant
for the elimination of the sexes
and their miX-upS unless our
dramatistS went back and bor-
roWed all over again the ancient
gods and goddeSSeS. And how
could they even do that? Has
not every He and She of them
with Wagnerian melodic accom-
paniment,. been escorted over the
rainbow bridge and deposited in
Walhalla, safely dead and buried
for all time? Even so, as always,
there is but to carry the reader
on to another passage of the dis
cuSSion.
MUST all drama be confined to
sex naughtineSS? Must our
stage forever and unintermittent-
ly, world without end, be used to
drag the marital bed, honored or
diShonored, into the limelight for
the public eye, either as education
or as entertainment? Is there
nothing clean and sweet in the
various and ever varying lives of
humanity that might engage the
talents of the mimic and be
equally as interesting? Are there
no other emotions in the human
heart whose stirring may not
arouse that yearned-for thrill,
that moment ecStatic, that salts
flying sensation of peace, or hap
piness, however fleeing? Does
not one often recall with keen
pleasure George Arliss in Dis
raeli," or in "Old Dutch" for ex-
ample, and are there not count
less other gems of the Theater
equally interesting, equally beau
tiful, amusing, fantastic, absorb
ing, that may be recalled as pat
terms for our henceforth drama?
In the keeping of superb talents,
even the tragic events of human
history have held large audiences
Spellbound. May they not still
do so?
Is not this the time also to stir
the imaginations of our drama
fists and playwrights with nobler
impulse, to break them away from
the monstrous creations of an
age of machines and pure ma
terialiSm? The world needs
wholesome, fascinating drama
quite as much as the producing
manager needs the road back for
his theater" Maybe, after all, it
is really new type of producing
manager we need, although so
many of us hesitate to say so.