The theatre, having ceased to form an integral part of our social life, has come to be the pastime of people with nothing better to do, - the floating population of our hotels, the shop-girl and her young man enjoying an evening out. The plays produced by the gentlemen who, I am told, control the stage in this country for the moment, are adapted to the requirements of an audience that, having no particular standard from which to judge the literary merits of a play, the training, accent, or talent of the actors, are perfectly contented so long as they are amused. To get a laugh, at any price, has become the ambition of most actors and the dream of managers.
A young actress in a company that played an American translation of MME. SANS GENE all over this continent asked me recently what I thought of their performance. I said I thought it "a burlesque of the original!" "If you thought it a burlesque here in town," she answered, "it's well you didn't see us on the road. There was no monkey trick we would not play to raise a laugh."
If one of my readers doubts the assertion that the better classes have ceased to attend our theatres, except on rare occasions, let him inquire about, among the men and women whose opinions he values and respects, how many of last winter's plays they considered intellectual treats, or what piece tempted them to leave their cosy dinner-tables a second time. It is surprising to find the number who will answer in reply to a question about the merits of a play EN VOGUE, "I have not seen it. In fact I rarely go to a theatre unless I am in London or on the Continent!"
Little by little we have taken to turning in a vicious and ever-narrowing circle. The poorer the plays, the less clever people will make the effort necessary to see them, and the less such elite attend, the poorer the plays will become.
That this state of affairs is going to last, however, I do not believe. The darkest hour is ever the last before the dawn.
As it would he difficult for the performances in most of our theatres to fall any lower in the scale of frivolity or inanity, we may hope for a reaction that will be deep and far- reaching. At present we are like people dying of starvation because they do not know how to combine the flour and water and yeast before them into wholesome bread. The materials for a brilliant and distinctly national stage undoubtedly exist in this country. We have men and women who would soon develop into great actors if they received any encouragement to devote themselves to a higher class of work, and certainly our great city does not possess fewer appreciative people than it did twenty years ago.
The great dinner-giving mania will eat itself out; and managers, feeling once more that they can count on discriminating audiences, will no longer dare to give garbled versions of French farces or feeble dramas as compiled from English novels, but, turning to our own poets and writers, will ask them to contribute towards the formation of an American stage literature.
When, finally, one of our poets gives us a lyric drama like CYRANO DE BERGERAC, the attractions of the dinner-table will no longer be strong enough to keep clever people away from the theatre, and the following conversation, which sums up the present situation, will become impossible.
BANKER (to Crushed Tragedian). - No, I haven't seen you act.
I have not been inside a theatre for two years!
C.T. - It's five years since I've been inside a bank!
