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ing night of "Dora's Dilemma.” Mrs. no time to listen to your theories of act- pose.) I don't say I will—I'll do it on Dean, Mr. Rosenbaum and the author ing, even if you had any. They threaten one condition, Mrs. Dean, that you withenter a stage box, and presently the

to stop acting altogether on Saturday draw your opposition to my marriage with curtain goes up on the crucial act of night.

Betty.
ROSENBAUM. What?

ROSENBAUM. You marry Betty over my the melodrama. Everything goes swim

JERRY. That's right.

dead body. (Turns to Jerry.) mingly until the climax, when Jerry,

ROSENBAUM. Never!

JERRY. (To Rosenbaum.) Oh, I'll go forgetting his overcoat, is forced to do

JERRY. Who's going to make me act? to the chair for you. a bit of impromptu acting, and seizing Mrs. DEAN. Nobody can do that—the Betty. I'll play Dora and her old DiBetty in his arms, rushes out of her critics notwithstanding.

lemma with a wedding-ring or not at all. supposed husband's house with her, ROSENBAUM. You don't dare quit.

ROSENBAUM. (To Mrs. Dean.) Mrs. ruining the intricate plot of the play. Jerry. Don't I? You forget I own this Dean—are you going to stand there and But next morning, when show.

see them ruin us? shown Belden's bachelor apartment and

MRS. DEAN. What? You ?

MRS. DEAN. Ruin us? his man brings in the morning papers, Dora's Dilemma.

JERRY. Yes, I put up the money for ROSENBAUM. Who's going to pay two

dollars to see a man make love to his own we are surprised to learn that “Dora's

Mrs. DEAN. Why wasn't I told? wife? Oh, Betty, be reasonable. I'll make Dilemma” has been an enormous success, that even Belden's acting has ap- feel under obligations to me.

JERRY. Because I didn't want you to a great actress of you.

MRS. DEAN. I've done that already, pealed to the critics as “delightfully MRS. DEAN. (Rising.) Obligations? Mr. Rosenbaum. unconventional,” and that the play will To furnish a few paltry thousand to put ROSENBAUM. Oh, Betty, don't do this. undoubtedly run for months. Belden my daughter where she belongs? It was Stick to me.

To show you the kind of is more than angry at this undesired a privilege. Nevertheless, it was very fellow I am, I'll let you both do Shakeand disastrous success. Betty is, too. generous of you. Betty, why don't you speare. She can devise no other way to marry

thank this noble-hearted man for all he JERRY. (Furiously.) Shakespeare? You've

has done for you? Belden than to compromise herself by

done enough for me. Don't think you can BETTY. Thank him!

put me in tights. visiting his apartment. Presently she

ROSENBAUM. Listen to her! She's as BETTY. I have an idea. Why couldn't we arrives. They plan an elopement, de- bad as Belden. But why expect gratitude be married quietly? (Jerry turns to her.) claring they will act in the play only from actors.

ROSENBAUM. Quietly !-What can you that week. Following Betty arrives

JERRY. Gratitude to you? A fat lot do in New York quietly? Mrs. Dean, who, now that her daugh- you've done for us. Where's that failure

Betty. No one need know. ter's success is assured, is not in the you guaranteed me?

ROSENBAUM. The reporters would get least worried about her being compro

ROSENBAUM. (Handing him check. it in a minute. There's a bunch of them mized. Mrs. Dean is magnificently Jerry takes it.) Here's your five thou- downstairs now.

JERRY. Why? gowned, and is already planning further sand dollars. I don't need it.

MRS. DEAN. What's this I hear about ROSENBAUM. I've brought them around theatrical ventures, having always had failure?

to interview you. an ambition "to do a few things to

JERRY. He promised me that it would

JERRY. (Goes quickly to phone.) Hello, Ibsen.” fail. I relied on him.

is this the office ? Send those reporters JERRY. Now Mrs. Dean, you've kept

MRS. DEAN. So, young man, you were

up to Mr. Belden's room at once. Yes, at us apart on the plea that you wanted to going to put one over on mother?

once. Now you listen to me. I'm willing see Betty on Broadway. You can take a JERRY. (To her.) You've put it all

to think of you and Effie and Johnnie and long lingering look at her for five more

over us—let that satisfy you.

But don't the others—I'm willing to go on acting nights and of course the usual matinees waste your time gloating-you'd better

and acting and acting—to serve my senMRS. DEAN. What do you mean? bend all your energies to find two people tence—so that you can go on producing JERRY. Sunday we're married.

to play our parts. (Gets suit-case, starts and producing and producing. You can BETTY. No, to-day! I'll take no more to door.) And find them quickly. (Betty do your Shakespeare and you can do your chances.

rises, takes Jerry's left arm. They start Ibsen provided we can get married. Oh JERRY. (Puts arms around Betty.) for door.)

quietly—I'll keep the marriage a secret. Suits me, darling. Then on Sunday we

MRS. DEAN. (Stopping them.) You Either you do this or I'll give that bunch start on a still hunt for that farm with children don't realize what you're doing. of reporters a story of our engagement the chickens and the little calf. You can't leave this cast. You're both

that will spread over the front page of Mrs. DEAN. I won't permit it.

necessary to the success of the play. every paper in this town. Now it's up to JERRY. Then I'm afraid we won't wait ROSENBAUM. (Turning.) You leave it you. (Knock at door. Whispers.) There for the permit. (Betty's head is on Jerry's and it won't draw a cent.

they are. Now think and think fast. (Anshoulder. Rosenbaum enters, handsomely

JERRY. We don't need the money.

other knock at door.) clothed and wearing a silk hat.)

ROSENBAUM. What about me?

ROSENBAUM. (Whispering.) What will ROSENBAUM. Well, we put it over. JERRY. (Over his shoulder.) Oh, you ! Didn't I always say it was a great play? MRS. DEAN. What about the others.

MRS. DEAN. (Whispering.) What can MRS. DEAN. Oh, Mr. Rosenbaum, I am You can't stop the run of this playso glad you've come. throw all these people out of employment.

JERRY. (Whispering.) Come with us. ROSENBAUM. (Puts high silk hat in Think of Effie and Johnnie—would you Mrs. Dean. (Whispering.) Where? armchair.) I'd been here before, but I take their livelihood ? Drive them back to JERRY. (Whispering.) To the Little was looking over the plans for the Rosen a life of care and worry. You can't do

Church Around the Corner. baum Theater. that unless you're both marked with a

ROSENBAUM. (Getting Mrs. Dean's Mrs. Dean. Talk to these children—I wide streak of yellow.

coat from couch, gives it to her. Whiscan't do anything with them. They're im BETTY. Jerry, I suppose we must think pering.) For God's sake go, but go quietpossible. of the others.

ly! (Jerry reaching hand to Mrs. Dean.) ROSENBAUM. You've got to make allow JERRY. (To Rosenbaum, throwing down JERRY. Come, Mother. ances after the hit they made last night. suit-case.) Why didn't you tell me if It's the artistic temperament.

this was a success I couldn't get out of Betty, Jerry and Mrs. Dean start to Mrs. Dean. It's rank nonsense.

it without hurting other people? You door, walking on tiptoes. Rosie tiptoes ROSENBAUM. It's the same thing. Jerry, promised me faithfully that my acting up to door. Knocking becomes louder didn't I always say it took one fat part to would kill it. Why didn't you warn me

on door. Betty, Jerry and Mrs. Dean make a Broadway star? Find out what that I was in danger of making a hit ?

turn, look at Rosie. Rosie motions to they like in your personality, and hand it ROSENBAUM. Oh, how did I know you to them. When you get old you keep on had what gets across—whatever the damn

them to go. And as they slip out one handing it to them and they think it's thing is.

door, Rosenbaum admits the curious character acting.

JERRY. (Starting to Mrs. Dean.) If I representatives of the press at the Mrs. Dean. (Sitting on couch.) We've stick to this thing, (Betty starts to inter- other.

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COLOR MUSIC: SCRIABIN'S ATTEMPT TO COMPOSE A

RAINBOW SYMPHONY HAVE had such a wonderful thus, their own sensations. That they perpetually gnawing at his vitals; but time playing Dr. Blank's lovely heightened the sensations that the music one of that class of adepts symbolized Persian rugs!” This, according yielded, that they became a constituent by the Greeks under the name of Proto a writer in The Musical Leader, element in the whole impression received

metheus." was the exclamation of a young termine for himself according to his re

from Prometheus, each listener must dewoman pianist and composer who was ceptive and prepared faith.”

“According to the teaching of theosodiscussing the association of tone and

phy, the nascent races of mankind, not as color that is said to exist in the minds

yet illumined by the gift of Prometheus, Alexander Scriabin

born in of many composers and artists. Her

were physically incomplete, possessing 1872, and before he entered the Mos- only the shadow of bodies, sinless beattitude, evidently, differs somewhat from that of the Russian composer, low the army. cow Conservatory had intended to fol

cause devoid of conscious personality (in

His inclination for theosophical terms 'without karma'). Alexander Scriabin. The latter at

music was too strong, however. He From this condition of nebulous darkness tempts not to translate colors and pat

won several medals as a student, and Prometheus delivered humanity by means terns into tone, but to unite tone and since 1903 has devoted himself entirely of the spark of enlightenment which color, or perhaps we might say, to

to composition. These facts we learn awakened man's conscious creative power. translate tone into terms of color.

Those who were most prepared to receive Under the direction of Modest Alt

it understood its value, and practiced it schuler, the Russian Symphony Or

on the highest spiritual plane; they bechestra recently performed in New

came the Arhats, or Sages, of succeeding

generations. Those less highly organized York Scriabin's "Prometheus — the

turned it to material uses. Thus the Poem of Fire.” For the first time any

Promethean gift assumed a dual aspect: where it was produced with the use of

on the one side it proved a boon; on the colored lights that the mystic com

other a curse. The music of Prometheus poser has introduced as a constituent

can be heard with interest apart from its element in producing the effect desired.

esoteric program; but it is difficult to see A “keyboard of light” had been con

how anyone can really enter fully into the structed according to the directions of

composer's intentions and follow the comthe composer, and this keyboard was

plex winding of his thoughts without

some knowledge of the sources of his inmanipulated by one of the members of

spiration." the orchestra, following the part that Scriabin wrote for it in his score. The

Not content with merely uniting color effect, if we are to believe the musical

and the orchestra, the Russian comcritics, was far from successful. But

poser dreams, as many other artists the experiment is none the less inter

have dreamed before him, of the uniesting in view of the fact that Scriabin

fication of all the mediums of art. stands with Schoenberg and Stravinsky

“Prometheus” is only a step toward the in the front ranks of the tonal revolu

realization of Scriabin's ideals. Mrs. tionists of the present day; and that he,

Newmarch further elucidates this like Wassily Kadinsky, the Munich ar

point: tist who attempts “to paint music,” is a Theosophist and a mystic.

“Regarding all art as religion, he aims, Typical of the impression upon the

like Wagner, at a union of the arts, which audience who listened and watched

shall work together to induce an effulgent Scriabin's strange “color-music,” is this

spiritual ecstasy, leading mankind to a description of the color keyboard by

genuine view of the higher spiritual the Boston critic, Henry T. Parker,

Alexander Scriabin, whose color symphony planes. In this great religious ritual all was recently played in New York, might have

the arts cannot play equally important who writes in the Boston Transcript: stepped out of the pages of James Huneker's "Melomaniacs." He dreams of creating a com

parts. Those which manifested posite art out of sounds, colors, and odors, but through mediums incontestably subordi"It worked; it distracted; and it added thus far has united only two of the senses in a nate to the will, such as music, poetry nothing-except the gratification of curi- symphony.

and the plastic arts, will be dominant osity—to the impressions that the average

elements in the combination. Other elelistener received. Before the playing of from an article by Edward Burlingame ments which are not subject to the willPrometheus began, Carnegie Hall was Hill in the Boston Transcript.

"Pro- power, such as light and perfume, take a darkened, save for the exit lamps over

These metheus—the Poem of Fire" repre- secondary place in the scheme. the doors and the necessary bulbs on the sents, we learn from the same source,

'accompanying' arts are, however, capable music-stands. Curtains were drawn at the summit of his achievement in the hitherto been supposed. In 'Prometheus'

of much further development than has the back of the stage to disclose à considerable square of gauze screens. Across

fields of expression, harmonic dating, Scriabin makes his first attempt to introthem, as the music proceeded and synand the liberal use of an immense or

duce one of them in his accompanying chronously with the indications of the chestra, to which is added bells, a play of light and color. In the work now score, played yellow, orange, violet, pur celeste, a piano with an important part, engaging his attention, which he calls a ple, greenish and reddish lights. Some and the “keyboard of light.”

'Mystery,' every means will be used to times a single color remained fixed for a Mrs. Rosa Newmarch, the well- enhance its incitement to ecstasy, and the moment; then it gave place to another known authority on Russian music, symphony of sound will be accompanied in quick or gradual transition. times the colors were blended; occasion presented recently (in the Russian Re- by the dance and by corresponding symally the usual clear intensity of them was

phonies of light and perfume. In this view) an interesting interpretation of Scriabin's version of the Promethean ticipate must experience the whole evo

'Mystery' we are told that those who pargraduated in shadings presumably indicated in the score. In themselves all of myth. It is “no ordinary conception lution of the creative spirit, and that there the colors were pleasurable to see in soft of the Titan, rock-rivetted and chained will be no division between those who are radiance clear or dimmed. They yielded, in height and cold, with the vultures initiated passively (the hearers and on

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GENIUS OR MADMAN?

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lookers) and those who take part in the pain of the scratch and the burn. In a ductors might argue to the contrary. The celebration of this ritual (the executants). like manner do the flaring and restless Tastiera per luce in Scriabin's PromeWe shall look with expectant interest to colors prevent the mind from fixing a too theus was essentially a soloist, accomthe next development of his art."

concentrated attention on the music. All panied by some very discordant and un

the colors of Titian and Turner were interesting music. Moreover, the conClarence Lucas, writing in the Nfu- there; but there was no picture. All the nection between the color-changes and sical Courier, frankly hints at the in- harmonies of Wagner, Grieg and Strauss the corresponding orchestral tones was sanity of artists of the Scriabin type. were there; but there was no recognizable scarcely ever clear. The impression was “All of these mystics, maniacs, realists, musical composition. All the words of not at all of a necessary, universally valid who exhibit abnormal tastes for the Shakespeare, Milton and Swinburne are relationship, but of an elaborate toy, govsensuous, whether of the eye, the ear,

in the dictionary; but there is no visible erned by the whims of the composer. or the nose, are suffering from an poem in that monumental volume.”

"When trumpets seemed to blare a vivid

scarlet, the screen showed only a mild atavism which retrogrades to animals,

It is well that air. Altschuler per and gentle amber tint, and in the dullest who are guided almost exclusively by formed the Scriabin composition twice gray moments of the music the Tastiera their senses and hardly at all by their during the same evening, that unusu

per luce flashed its most sustained crimreason.” ally discerning critic Sigmund Spaeth

son message.

In themselves the colors writes in The Opera Jagazine, for

extremely beautiful, suggesting “Scriabin may be laboring under the

changeable silks of endless versatility. delusion which is common to all neurotic most of his hearers were so much in

Of the music it was impossible to judge degenerates, whether men of genius or

terested in the colored lights that they fairly, because of the distraction of the ordinary idiots, namely, that he has entook almost no note of the music the

The thematic material sounded larged the boundaries of art by making first time. He explains further : interesting at times, but no real beauty it more comprehensive. He has not done

forced its way into the hearer's consciousso. He has taken a step backward. Can “This brings up at once a serious defect

Audible colors and visible tones a reader better understand a poem or an in the scheme. A screen filled with chang may be a practical possibility of the fuessay if he sits on a tack or stands on ing colors is no more a part of an or ture, but what was exhibited by Mr. Alta hot stove? Vo; the mind will be dis- chestra than is the stage setting of a schuler can hardly be called more than turbed in its attention to the poem by the Wagner opera, much as some of our con a diverting novelty.”

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WHY THE MOVIES AND THE DRAMA MUST TAKE

DIFFERENT ROADS F, AS some of the champions of sentation of life because it misses the sundown sitting upon the bench in front cubism and futurism claim, the richly artistic support of verbal lan of the house, scanning the empty road camera and photography have guage."

down which his daughter was wont to eliminated the realistic and sub

By the light of the moon at midjective mission of painting, and The picture-drama, Mr. Hedges

night we saw the motionless figure, tense have forced the artist into subjective points out, can never fully reflect our

with anguish; and when the sun rose, the

old, motionless figure was still there waitand spiritual fields, where he no longer modern sophisticated life. At the same

ing, waiting. need concern himself with the aim of time the picture-drama is preeminent "That is effective presentation of emorepresentation, there is good reason to in the portrayal of realistic settings. tion. But how could the conflict in suppose that the development of the Vistas of hills and plains, burning Father Lear's heart, before Gloucester's moving picture may have a similar in- buildings, the expanse of lakes and castle, be portrayed thus ? No, until the fluence upon the drama and the the seas, are all supreme in the "movies.” art of the picture-dramatist develops ater. Writing on “A Laocoon for the “The garden of Allah,” because it lay marvelously, the realm where the soul Movies" in The Play-Book, H. M. in the broad out-of-doors, would have

battles is shut to the picture-dramatist.

And here we have a line of distinction Hedges makes several interesting sug- succeeded better in the films than on gestions for the future development of the boards. “Il'ho would not rather between melodrama and tragedy. A play

which presents the objective world in dethe moving picture and the play and give five cents to see a perfect replica tail and in preponderance is melodrama; the drama proper. of the Sahara in pictures than two

a play which reveals the subjective world “There is the language of pantomime dollars to see a canvas desert ?”

is tragedy. Pictures are the province of and the language of verbal speech. Both

melodrama; the legitimate stage is the are elemental and fundamental. The uni “The picture-drama, supreme as a rep- province of motivated drama, high comversal sign-language, the signal of the resentation of objective life, can never

edy and tragedy. hand and the expression of the face, is hope, as far as present indications go, to

“Late years have been disastrous to at its base dramatic. The universal oral enter the subjective world of the soul.

American drama proper. Managers mainlanguage, ejaculations of pain and joy The objective and subjective worlds are tain that moving pictures have contributed such as 'ah,' is at its base dramatic. Both equally real, but not equally important to

their share to the catastrophe. It seems languages are the material of drama; drama. For drama, great drama, the only

plain that the disaster is due to a poor neither alone makes drama. The closet thing of importance is human person

definition of the fields of the two kinds drama attempts to give a representation ality in conflict. The proverbial barren

of art. When once the managers see that of life through the ear alone : the picture stage of the Elizabethans supports this as

it is folly to compete with the picturedrama attempts to give a representation sertion. How can the struggle of a soul plays in their own field, melodrama, they of life through the eye alone. Each is an be adequately portrayed by pantomime ? will turn to the production of realistic, incomplete representation because each is Emotion, perhaps eep physical emotion, poetic comecly and tragedy; they then only partially real. To reveal the depths can be expressed by face, attitude and will till a field where the fatal sickle of of passion in a soul, to reproduce the gesture; but as soon as a portrayal of their competitors cannot go.” multiplex deeds of men, both languages, conflict is attempted, the support of lan

We may conclude, therefore, that adequately employed, are all too inade guage, with its rich suggestiveness, is

both the moving picture and the drama, quate. As one instance of the inadequacy needed.

have their own separate and distinct of the two universal languages, note the “I once saw paternal emotion and pain

fields, and that if each is to develop to use of the symbolic silence of M. Macter- conveyed adequately in picture-drama. An linck, which the picture-drama may util- old farmer lost his only daughter to a

its highest point, neither should attempt ize but has not yet fully. The picture- rascal in elopement. The old man was

to encroach upon the preserves of the drama then fails to be a complete repre dazed by the loss. He was shown us at other.

THE VIOLATION OF THEATRICAL NEUTRALITY BY

THE EXPERIMENTAL AMATEUR

T

new

HE amateur is violating the Square Players was scarcely less en- people who make up the organization are

atrical neutrality. He is rush- thusiastically received by the metro drawn from all sorts of callings, and are ing in, and winning, where politan critics. It was composed of doing what they are doing because they the experienced theatrical pro- Leonid Andreyev's "Love of One's

want to do it, perhaps with ambitions for ducer has feared to tread. At Neighbor”; “Two Blind Beggars and

the future, but with no expectation of im

mediate reward. Each one turns in and least, so we must conclude from the One Less Blind,” by Philip Moeller; helps in the way he or she is best fitted enthusiastic reception that has been ac "Moondown,” by John Reed; and a

to help. It may be in acting, musically, corded by the New York dramatic pantomime in black and white, “The in a business capacity, in scene painting critics to two new democratic ventures Shepherd in the Distance,” by Holland or building, in typewriting, or even in —the productions of the Washington

sewing on costumes. Some of the memSquare Players at the Bandbox The

bers have written the playlets that have ater, and the opening of the

been produced, and others have directed Neighborhood Playhouse in the heart

the productions." of the East Side. Each is an experimental and democratic organization, if

The danger of commercialization for not completely amateur in personnel.

this enterprize, which some of the Both organizations are presenting plays

critics seem to fear, is evidently small, that have no appeal to the commercial

in view of this essentially democratic manager. Both are attracting culti

nature. The artistic aims are scarcely vated and enthusiastic audiences. Both

less democratic, as indicated by a writer are pleasing the professional critics.

in the Boston Transcript: This fact is of peculiar and ironical significance in a season when unfavor

"The purpose, briefly, was this: To esable and caustic criticism has resulted

tablish a stage for experimentation; to in a bitter war between managers and

put it at the disposal of competent aucritics—a war that in one case at least

thors and producers who might have (the New York Times vs. Messrs.

something vital to contribute; to put into Shubert) has already been carried into

execution, swiftly and without undue rethe courts.

gard for hampering detail, any artistic The Washington Square Players are

idea that seemed worthy of trial; to

maintain a theater flexible and responsive, a group of artists, writers, actors and

one capable of developing into a permaothers who are supposed to inhabit that

nent institution of such a character as elusive district of lower New York

events might dictate. There are perhaps known as Greenwich Village. When

dreams for the future; there are as yet their first program of one-act plays was

no set plans. The response accorded the presented at the Bandbox Theater, the

opening performance, the ability of digeneral excellence and novelty of the

rectors, artists and actors, will go far performance led the New York Herald

towards determining the immediate evo

lution. Naturally, the theater hopes for to exclaim editorially: “There has been

permanency. A stable financial basis, plenty of drama worth fifty cents sold

with a decent living wage to actors and for two dollars a seat in New York

other workers, is a reasonable expectafrom time to time; but rarely indeed

tion. Beyond that the only desire is to does one get two dollars' worth for fifty

make the theater responsive to any arcents. . . . Yet that is exactly what 299

tistic impulse that may spring up sponpersons had served to them last night

taneously." in the little Bandbox Theater. . . No less impressed was the New York

The Neighborhood Playhouse is the Tribune, declaring that if the group of

outcome of the work of the festival individuals composing the enterprize

and dramatic groups of the famous can preserve the freshness of spirit and

SHE SPEAKS EUGENICALLY

Henry Street Settlement. During the originality of idea which it indicates The heroine of Edward Goodman's “Eugenic. past eight years, as Miss Helen Arthur in its original offering, it promises to ally Speaking;" performed by the Washington points out in The Play-Book, these

, car be a theatrical force to be reckoned husband after reading an article by George groups presented festivals and pantowith. “In the moving bit of drama Bernard Shaw in a magazine. Her father, the

mimes in the gymnasium of the settle‘Interior,' by Maeterlinck, the producer nately—or unfortunately—the conductor is martraction magnate, wants to sue Shaw, but fortu

ment, and for the last three years the and company achieve an atmosphere ried.

dramatic club (now named the “Neighof simplicity and sincerity which is ad

borhood Players") has produced at mirable. If the players do nothing Hudson. The performance was of such Clinton Hall plays like Olive Tiford else, they are to be congratulated on merit that one of our most austere Dargan's “The Shepherd" and John their presentation of this virtually un

critics, James Vsetcalfe, was led to re- Galsworthy's “The Silver Box.” The known bit of literature by the Belgian mark in Life:

erection of a theater was the inevitable dramatist." The Brooklyn Eagle was

outcome of the success of these pereven more enthusiastic over the

“If the work of the Washington Square formances. Designed by the architects

opening program. Admitting the danger of Players is not spoiled by too much pe

of Winthrop Ames' Little Theater, the superlatives, it nevertheless was of the cuniary success, or by awakening the inopinion that these plays comprised highbrow clement in this community. it quisite appointments and complete

terest, patronage and interference of the Neighborhood Playhouse, with is exprobably “the most novel theatrical promises to become an excellent influence lighting and scenic facilities, will offer opening ever seen in this city.”

in a theatrical way. It is the theater every encouragement and inducement The second bill of the Washington in its most democratic form. The young for artistic producing and acting.

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The theater was opened with a Bib- according to their special talents and de the most likely forum for the short lical festival, entitled “Jephthah's sires. Those who want to act, act; and their play that New York has enjoyed since Daughter." More recently another friends who come to see them feel a more

Arnold Daly's brilliant lease of the series of plays, including Lord Dun- personal response to the miraculous fact Berkeley in 1907. And it has remained, sany's “The Glittering Gate,” Oliphant The costumes and properties, designed by in a remote amusement chamber named

seem somebody else.

he points out, for a squad of amateurs Down's “The Maker of Dreams, and people working in the neighborhood, are American folk-drama, “Tethered made entirely by the various art and

The Neighborhood Playhouse to introSheep," by Robert Gilbert Welsh, was handicraft classes in the settlement. Fi

duce the work of Lord Dunsany to the produced. The last-named play was nally, unless the organization has serious

New York stage. interesting as an attempt to do for the flaws, the thing produced will be the thing “That the stage introduction to the South, evidently, what the Irish dram- desired; the art will grow out of the local proletariat of the rare and imagatists of the Dublin Abbey Theater audience as well as out of the artist. It inative work of Dunsany would evengroup have done for the peasant life is such a creative audience that is the tually have to be vouchsafed by amaof Ireland. foundation for every great art.”

teurs was, of course, to be expected. But the Neighborhood Playhouse is “It would appear that everybody is Just as it is a tradition on the part of confining itself not merely to plays of in the theatrical business but the our professional managers that, in a this type. Moving pictures, camera theatrical managers,” remarks George military play, no matter where a soltalks, folk songs and dances, marionets Jean Nathan in the Smart Set, “when dier is wounded he must always wear and music, and artistic vaudeville will one surveys the great number of ama a bandage around his forehead, so is it further help to carry out the demo teur organizations that are at present tradition of our theater that either cratic idea in the institution. Regard- spreading over the country.” This may amateurs or Arnold Daiy must finally ing the value of such a theater to the not be a bad thing at all, he continues. be entrusted with introducing to the East Side, Hiram Kelly Moderwell It has remained for the Washington American public all the really worthwrites in the Boston Transcript: Square Players to institute probably while dramatists. Thus, Shaw had to

be given his first “The value of

American hearing such an institution

up a side street. in spiritual and es

So, too, Echegaray thetic results may

(at Mrs. Osborn's be great. We have come to realize that

Playhouse). So, a democracy goes to

too, Strindberg. seed without vigor

So, too, Björnson. ous local self-gov

So, too, all the rest ernment, and an art

of them. And now, institution always

too, Dunsany." tends to degenerate

Thus it would when it is too highly centralized. The

appear that the argreat school

tistic mission of of power, in art as in

the new theatrical politics, lies in peo

amateurs is a far ple's doing things

serious one for themselves. It

than would at first is in no figurative

be supposed. Theirs sense that the peo

seems to be that of ple of the Grand Street

the pioneer in art. Neighbor

To succeed they hood making their theater. A11 A POSTERESQUE PANTOMIME

must continually who are in any way As played at the Bandbox Theater in settings designed by Robert Locher, “The Shepherd in

open new fields of the Distance" becomes an interesting series of pictures which would have delighted Aubrey interested contribute Beardsley.

theatrical endeavor.

[graphic]

more

are

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Black and white checks, black and white flowerpots, with a touch of red here and there, and the brilliant blue sky seen through quaint windows, are strikingly effective in the setting the Neighborhood Players have designed for Oliphant Down's whimsical and poetical drama “The Maker of Dreams.”

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