The Little Theatre in the United States

Home , Little Theatre Movement, Theatre of France

THE LITTLE THEATRE IN THE UNITED STATES

C O N ST AN C E D ’ A RCY M ACKAY

A thor of The Beau o Barb and Otbeae Ad Plat 603110 7131 u f y , f - and Scen r r A ateurf e tc . t e y o m , , e c .

I L L US TR A TE D

N EW YO RK HENRY HO LT AND CO M PANY 1917

PR E FA CE

T H I S book aims to give a complete survey o f one of

h f ee e e f t e newest , r st , most pot nt and d mocratic orces

f A —th e T e in the art o the merican stage Little h atre . It describes th e rise and inﬂuence o f th e Littl e Theatre in E urope and its subs equent rise in the United S tates . A description of every Little Theatre in th e United

S e th e i e th e tat s that author could f nd is giv n , including

e e e e e e achi v m nts , special signiﬁcanc , policy , r p rtory , and

e f n S e th e e T e sc nic contribution o e ach o e . inc Littl h atre

e e are mov m nt is a growing thing , changes in its history constantly taking place . It is in a state of transition f f and can only be written o in te rms o transition . In e stimating th e contributions o f th e various Little Theatres the author has striven to be as fair as possible ;

the e T e e e e but naturally , Littl h atr s that hav mad the most history and posse ss th e most salient characteristics

e ee e th dis rO ortionate hav b n giv n e most space . I f a p p amount' o f description s eems to have been given to some o f th e e e e th e e e e l ss important th atr s , critical r ad r is ask d to remembe r that th e amount o f space apportioned was

f e th e o f e e e e o t n controlled by amount mat rial r c iv d , in answe r to a qu es tion nair e which was sent to such th eatres

h e T u es tionnaire as t author did not personally visit . his Q

e the e o f e d alt with probl ms policy, housing , ﬁnance , d co

e S ins ir~ ration , ensembl , and management . ometimes p

iu iv PREFACE in l e e e e e e e e g y complet and d tail d answ rs w re r c iv d : again , the e e e e e r pli s , in spit of additional correspondenc , prov d e e e e e xtr m ly m ag r . Th e full repe rtory o f e ach Little The atre has been

e e e e new given wherev r that r p rtory was mad up of , sig niﬁcant e e use e plays , or plays r adily availabl for in oth r

e T T e e e . o e e e Littl h atr s a c rtain ext nt , r p tition had to be e e e th e e e o f e avoid d , so in som cas s g n ral trend a th a

’ ' tre s repertory has been indicated rathe r than giving th e

And are o f e e e e . e whol r p rtory ther , cours , instances whe re Little Theatre s are so new that the ir repe rtory is ve ry bri e f indeed !

’ There is a Chapter on the Little Theatre s Cost o f M aintenance given in th e hope that cities not posse ssed

And of Little The atre s will want to e stablish one . there is appended a Chapter on the R epertory S ystem in general . The author wishes to e xpre ss he r thanks to the many directors of Little Theatre s throughout th e country with out whose full and h earty co- ope ration this book would

T are d ue th e not have b ee n possible . hanks also to fol lowing magaz ines for their kind permission to reprint material which has already appeare d in the ir pages : Th e

I nde enden t The A rt orld Th e B ellman The M id p , W , ,

e uar erl W s t Q t y . C ONTE NTS

CH A PTE R I

T H E R I SE O F T H E L IT T L E T H E A T R E

Th e R s e o L ttl h r i r e The F ree i f th e i e T eat e n E u op . ’ h e atre o f A n r é A nt n e u n v L é P oe. S tan l ask T d oi . g is i s ’ M oscow A rt h e atr an ski s o T e . Wysp i Nati n al P ol ish

h eatre M aame Kommisarzh e vsk . Th e onve T . d y C x M rr or h e atre R se o f th e L ttl e h e atr e in rea i T . i i T G t r tan M oveme nts n ﬂ en ed L tl e atr e B i i . I u c by it The s : Th e n e n de n h e e h e a oc et h r I e t atr . T S t e T e sh d p T g S i y . I i h a he e r l ae r . e c l n P y s T M n ste r Pl ay s . W e sh Natio al h e t e L t r ar h e atre of L v r ool ro o ar . e sed T i y T i e p . P p L te r ar h eatre s o f B rm n h am L ee d s S h efﬁ el d i y T i i g , , , ’ ’ B r as e a e s x stol The l ow h tre . W s e nd E vo i . G g T a M y s ’ l a n are e r d n ers . A f r o r t e K n to P y te on Th e t . G u i gs s L tl h e a e M ax R e nh ar t an d the Kamme rs e l it e T tr . i d p i a e M atre tr n be r an d h s . Th n ch A r t h e S th e u u i T . i d g n t mate h eatr O th e r L t l e ro a e . t E ean h e tres I i T i u p T . ac e o e a e h eatre d e x ol b J s . Th a o qu C p u T Vi u C m ie r . The R se of th e L ttl e h eatr in e U n d tate i i T e th ite S s . h e at n r m I ts rowth A c vemen ts . ffe re n ti o . o se . G . i Di i P i

CH A PTE R II

T H E LIT T LE T H E A T R E S O F N E W YO R K CIT Y

’ h e B W inth r op Ames L ittl e The atre . T r amh al l Pl ay ash n n S ar e l ae r a h o se Th e W to s . S t rt u . i g qu P y u ’ e h r W al ke r s Portmant au Th eatre . T e P ovincetown ae h e e h rh ah o l rs . T bo ood l e P y N ig P y us .

CH A PTE R III

T H E LIT T L E T H E A T R E S O F N E W O R K CIT Y on Y ( C . )

E a - W e - l a r rookl n R e r The st st P ye s . B y p e tor Th e

ar e e ro l ae r s . Th e M orn n t e . Th s e yl a r N g P y i g id ye s . ’ Th e reen w ch ll a h e are N ew York G i Vi ge T t . s Amateu r m b Co edy Clu . vi CONT ENT S CH A PTE R I V PAG E OT H E R LI TT LE T H EA T R E S O F T H E E AS T

h R n l r Th e ork h o h e atre T e ich mo d Hil l P aye s . W s T

of Yonk Th e r ama a e l ae rs 0 B ffal o . ers . D Le gu P y u ' The L ttl e he are c t Th e P r in ce S tre et i T t o f R o he s e r . l a r o h e s h omm n t l ae r s o f M ont P ye s f R oc te r . T e C u i y P y cl a r s of e r ar . J . Th e e hborh ood l e wak i , N N ig P y N , J The B r or l ae r h c ll m he atr t s . T M c a e N . . idgep P y e u T o f N ortham ton h ttl e atr hil ad l h T e L e h e of e a. p . i T P p i “ ” as and aers of h l ad el h a Pl y Pl y P i p i .

CH A PT E R V

T H E LIT T LE T H E A T R E S O F CH IC A G O

’ M ar ce B rowne s L ttl e h e atre Th e W orksh o u i i T . p atr h ouse h e atr he e. T T e Hull H T e .

CH A PTE R VI

OT H E R LIT T L E T H EA T R E S O F T H E W E ST

ak re l ae r s of L ake ore t I II Th Th e L e o st s . e F P y F , a r h e t l a r ar e l aho s e o f l es b I ll . T L t e l P i i P y u G u g, i P y a h o se o f L o s . Th e L ttl e The tre o f u th . u S t. ui i D lu h ns n l ae r o f M l wakee T e W isco i P y s i u .

CHA PTE R VI I

I E T H E A T R E S F T H E W E T n OT H E R L T T L O S ( Co . )

r Th l The A rts and Cr afts Th e atre o f D e t oit. e P ay e tl ar f A n e o f l v l an Th e L t e h e t e o L os l es . h u se o C e d . i T g f n an o s Th e arl e n Th e L ittl e Th e atre o I di ap l i . H qui an n e l e he are l ae rs o f K sas t Ka. Th L tt t of P y Ci y, i T a ook e l d E r e e n n Th e L ttl e h e tre o f B r ﬁ e nn . i , P . i T , P ovements toward L ttl e h e atr es i n M n ne aoli s t M i T i p , S . al tt b r h n nn at and or t and re s c O . P u , Pi u g , Ci i i , P l ,

CH A PTE R VIII

T H E LIT T L E T H E A T RE S O F T H E S O U T H

r al m e T he Vagabond Th e at e o f B ti or . Th e D rama

Lea e l aers of W ash n ton . . Th e Li ttl e The gu P y i g , D C o N r ean h L ttl e Th tre of L o atre f ew O l s . T e i ea uis l l e K vi , y. CONT ENT S vii CH A PTE R I X P AGE LA B O RA T OR Y T H E AT R E S ’ H arvar s W ork sh o he atr Th e d p T e . Dartmouth L abor ator ' atr e h e y The . T L aboratory Th e atr e o f Car ’ n e ie I n st t te at tts b r h rac g i u Pi u g . G e Gri swold s The r h atre W o ks op .

CH A PTE R X

LIT T L E CO U N T R Y T H E A T R E S

Th e L ttl o ntr he atr ar e C e of o . th e i u y T F g , N D . O r n at L ttl e Co tr h e re s . Th e L ttl e P l ai nﬁ el d i u y T i ( N . H . ) e e i arn h h atre . Th u l l cote B e atre oll s e T Q T , H i , M .

CH A PTE R XI

COS T O F M AINT A INING A LIT T L E T H E A T RE

n v al robl ems on fron t n L ttl e h e atr es I di idu P C i g i T . at n aac t an d th h e atr e ax tt n S e i g C p i y e T T . Pu i g aL ittl e a l e an n r Th e atr e on aCl ub B sis . G i gs f om th e E xp en se c tl h re R e c n he A cou n ts o f L it e T e at s . du i g t Th eatre B t K nowl e e R e re d n d udge . dg qui for K eep i g own E x en s s p e .

CH A PTE R XI I

A W O R D O N R E P E R T OR Y T H E A T R E S IN GE N E R A L 223 f ee or R e e rt e atr . he r N d p ory Th e s T S ta S ystem . m an e h N w h e ar r an vil tock o t . B k S C p i s . T e e T e G l e ar er ’ r a r ace eor e e o e n e on B o wa. r a Th d y G G g s R ep rt y S so . L tl h e are nd R e e rtor it e T t a p y .

A PP E NDICE S

T e L e T e ar e i M e aevaT mes 241 l . h ittl h t n di l i e T e ar e s a H ave F ae 243 2 . Littl h t th t il d

T h e M n aT ear e ofN or am o M as s . 245 3 . u icip l h t th pt n ( L I ST O F I L L U ST RA T I O N S

The Wash n ton S ar a r Y S r m e e s New ork . cen e o i g q u Pl y , f ’ An d rey e ﬁ s Th e L ife of M an F r on tispie ce

FACI N G FA G ! ’ T he Washi ngton S quare Play ers in Evrieno fs Th e M erry D eath an d in B us h d o , i

’ S cene f rom Lo rd D un sany s Go ld e n D oom as p ro d uced at ’ S t art Waker s o rtmante a Th e atre an d th e ort u l P u , P manteau Th eatre u n p acke d an d s et fo r ap e r fo rmance

Th e e h borh ood ah o se Grand S tre et New York N ig Pl y u , ,

Th e Greenw ch V ae Theatre N e w Y o rk C t i ill g , i y

Th e Comm n t laer s o f R chmon d H Lo n s and in u i y P y i ill, g I l , ’ Quinte ro s A S u nny M or n ing

’ Chr is tmas lh o ette at M ar c e B ro n e s L tt e T h eatre S i u u i w i l , Ch cao an d art o f th e n ter o r o f th e H u H ouse i g , P I i ll Th eatre Ch cao , i g

r d r Th e Wh te H ous e S aoon Gae sb r I ll . be o e an ate i l , l u g , , f f be ing r emode led i nto th e P rai r ie Playh o u se

ns de th e Arts an d Crats Th eatre D e tro t M ch an I i f , i , i ig

’ S cen e from Lo rd D unsany s Gli tter ing Gate at th e A rts and Crats h eatre M ch an an d s cen e rom R and at f T , i ig , f y l

th e Vaabond Th eatre Bat more M d . g , l i ,

’ B k r s o rksh o T h e atr e at H arvard A Re P ro fes sor ae W p . ’ h earsal o f S ig urj én s son s E yv in d of th e H ill s

o Th eatre o f Carne e I n stitute Pittsbu r h enn . S t d o for g i , g , P u i S cen e Pai nti ng an d Cos tume R oo m

’ S cene fro m Th e odo re D re i s er s Laug hing Gas as p r oduce d at ' r n l an d S e n rom th e Littl e h eat e o f d anao s I nd . c e T I i p i , ; f Th e P rar e W l b h n B Lan as rod ce d at th e i i o f y J o . g p u L r r r h a F o . D tt e Co nt T e t e a . i l u y , g , N Woo dlan d S etti ng d e s ign ed by M ax ﬁ eld Par r i sh for th e L tt e Co ntr h eatr e o f Plainﬁ e ld New H am sh re i l u y T , p i

A d tor m o f Carn e e nst t te Laborator T h eatre tts u i iu g i I i u y , Pi h n b r e n . u g , P

Th e New h eatre N Yo rk T , ew

Th e M n c aTh eatre o f o rtham ton M as s and th e Lit u i ip l N p , , tl e h eatre o f Plain ﬁel d Ne w am sh re 3 Coun tr T , H p i , y ” Th eatre Remodeled f rom aTown H all viii CH APTER I

T H E RI SE O F T H E LI TTLE THEATRE

T H E newest and most vital note in the art of the

Unite d S tates today is struck by that arch - foe of com

r — Th me cialism th e Little Theatre . e very name Little T heatre is salted with signiﬁcance . It at once calls to mind an intimate stage and auditorium where players and audience can be brought into close accord : a theatre whe re unusual non - commercial plays are given a the atre whe re th e repe rtory and subscription system prevails ; wh ere sce nic expe rimentation is ri fe ; where H ow M uch ” Can W e M ! ake is not the dominating factor .

e T e e e e Littl h atr s are establish d from lov of drama , not f e T are e . e e a rom lov of gain —h ir work rs all dr wn tog ther th e e e are ar tis ts otential artis ts by sam impulse th y , or p

th e f o f o f in cra t acting , playwrighting , of stage decora

T re the tion or stage management . hese a deﬁnite traits o f e T e Littl h atre s the world over . — Little Th eatres may differ as to size the ir seating

be e But e capacity may s venty or three hundred . th y do

diﬁ e r not in their main characteristics . One and all

are e they xponents of the repertory system ; and last ,

are ex eri and most important , they always centers of p 2 T H E RI SE O F T HE LITT LE T HEAT RE

’ F or e e e th T e mentation . xp rim ntation is e Little heatr s

’ r ais on d étre .

The Little Theatre movement is o ften spoken o f as a n ew movement ; and it is n ew as far as Ame rica is concerned ; for its rise in this country began in 1 9 1 1

Th th e T 1 9 1 2 . e initial idea of Little h eatre came to us f E e e 1 88 e th e rom urope . Its inc ption go s back to 7 wh n ﬁrst small expe rimental the atre was e stablish ed in Paris

1 A A E ee des Be A e by ndré ntoine at 37 lys aux rts . Jul s

’ Lemaitre s description of that blustery Octobe r e ve ning

“ has since b ecome famous ! W e ( th e critics ) had th e air of good M agi in mackintosh es seeking out some lowly

e an be but glorious mang r . C it that in this mange r the decrepit and doting drama is destine d to be bor n again !

’ e H ad h e e e e . ee Lemaitr s words w r proph tic b n , in his

euill eton e e e e h e e ou t f , v n mor proph tic , might hav pointed that André Antoine by e stablishing th e ﬁrst ge nuine Little T heatre th e world had e ve r se en was to inﬂuence th e art o f th e stage more profoundly than any man o f his generation . The te rm lowly but glorious might have bee n use d

e e A e e f: o f th e e e e to d scrib ntoin hims l a man p opl , b gin ning his caree r as a clerk ; a man imbued with a pas s ionate yet clearsighted love o f th e stage ; a man ﬁlled with an enthusiasm for the art o f th e the atre so great that he was abl e to enkindle all those with whom h e

e e e e wh o cam in contact , wh th r cl rks and artisans wante d

men o f e f e ‘ to act , or gr at gi ts who want d to write

e e —men E e B e ( or w r writing) , plays such as ugen ri ux ,

A end x S ee pp i I . T H E RISE O F T HE LIT T LE T H EAT RE 3

F P f A All C e e e e W Ge e e . amill abr , i rr ol , and org nc y

e e e ee h e e e th e this L maitr might hav s n , had poss ss d

r f f r An H d . e e c ystal o utu ity . more might hav glimpsed

e e that this young man , beginning as a humbl cl rk , was to wear in later years th e coveted Legion of H onor for

e e th e F e his s rvic s to rench theatr .

Be e F e that as it may, when L maitre and agu t, with some o f the ir brothe r critics stumbled down th e dark

e o f No e fe passag . 37 th y lt that it was an occasion

’ A nd t e e A F ee T e e h y w re not wrong . ntoine s r h atr was de stined to be as great as it was little ! I t e stab l ish ed once and for all th e ide a o f intimacy between playe rs and audience ; it thrust unde r foot the ide a of p roﬁt- seeking as th e sole aim o f th e th eatrical manage r ; for A ntoine regarded th e theatre as M ax Reinhardt does

“ ” f A e e o . today , as a hous vision ntoin sought sim

licit o f e ffe e e His e e p y ct rath r than ornat ness . th atr was

a dramatic laboratory in th e true sense o f th e word .

’ Artistic experime ntation was the soul o f Antoine s I e e . F t th atr rom th e ﬁrst it e schew ed comme rcialism .

e e for e subscri was n v r run proﬁt . Its audienc was a p

e e e are th e T e e e tion audi nc , xactly as Little h atr audi nces o f Th A today . e plays ntoine produced we re criticisms o f li fe as against th e well - made play of th e S cribe or

S T the ardou school . hey were as new and strange to audience s o f those days as are the plays of Andreyeff

th e e o f th T e e to audienc s e present . h y w re naturalistic

e T plays , giv n in a naturalistic manner . hat in itself

e new The whol e mark d a epoch in stage development . natur alis tic ar t of th e th eatre as we know it today dates 4 T HE RISE O F T HE LIT T LE T HEAT RE

’ back o he x e en at on o A d e A in e H e t t e p rim t i f n r n to . pro d uced th e e e S e r th n revolutionary plays of Ibs n , trindb g ,

T B H e u e e e olstoy, and rieux . had an unbo nd d app tit

H e new the th e e . for the absolutely , vital , lib rtarian f shut the door in th e face o f tradition and gave alse.

B e romanticism its deathblow . y his daring , his r st e e h e e e less s arching, his fearl ss producing, mad possibl T the Little heatre as we know it today .

“ A critic has recently said ' Th e Little The atre is the one thing that has happ ened in th e histor y o f th e ” - ﬁ ee e stage in the last thirty ve years . Ind d the whol

new th e e e st liza art of mod rn stag , lighting , color , y

z ee e e r tion , synchroni ation , has b n mad possibl th ough

T t o f th e e the Little heatre . Wi hout the impetus Littl

T e e e ee G C h atre ther probably would hav b n no ordon raig ,

R A ndre e ﬂ S e S . no tanislavski , no einhardt y , trindb rg ,

S e G e the D th e ynge , Y ats , Lady r gory , Irish ramatists ,

M e e e e e anch st r school , all thes and th ir quick ning inﬂuence might not have taken the place they hold today were it not that the Little Theatre made straight th e way

T he e T e h e . t t for them hat is to say, without Littl h atre ,

ﬁnest one - act plays o f Europe might n ever have been

e e e e for written , sinc for years th r was no plac the short story of th e drama save in the large the atres whe re

e e e th e o f e e e it was r l gat d to part a m r curtain rais r , or in the vaudeville theatre s where it was forced to have e ither farcical or melodramatic qualiti es if it was to hold

Th e e T e e h - its own . Littl h atr gave t e lite rary on e act

th e z e and e play, play o f characteri ation and styl nuanc a chance to live . T H E RISE O F T HE LITT LE T HEAT RE 5

It has been claimed that the Little Theatre doe s not

B e e e A e e . ut e fost r gr at acting this , v n in the tim of ntoin ,

e it neve r pretended to do . In its small compass ther is

e the the e th e e th e no spac for vast , h roic, impassion d , “ mountain of ﬂame blown S kyward that great acting

But e e is , and always has been . wh n was great acting ver

e ! The e foster d or taught gods app ar, or they do not

B D e C M appear . ernhardt , us , oquelin , Irving , and ans

e e e e e e of ﬁ ld , w re not cr at d by any special th atr or set

A e th eatres . ﬁne nsemble that shall worthily and truth fully e xpre ss the idea which the author wishe s to have

— h - th T e expressed this is t e acting ideal of e Little h atre . And whe n th e great actors o f the future appear they will ﬁnd that through the inﬂuence of th e Little Theatre the re is a more appreciative audience waiting to receive

e e e M th m , and an insc nation worthy of th ir gifts . ean while th e Little Theatre upholds th e ideal O i devotion

n O f to art which the stage is in da ger losing , and pits

' its strength against the great gilded juggernaut of What

the P Th e ublic Wants . e larg theatre is many centuries th h old ; e Little Theatre is very new and young . W o can tell what may or may not be accomplished by it !

’ Th e n ext theatre to Antoine s F ree Theatre in point o f

’ ’ e Lu né P e T ea L OZuvre tim was g o s h tre de , which as — its title suggests was a Theatre of Work the ﬁrst work

e e e e e shop th atr , an ant c d nt of the growing list of work

e are Natural ness shop th atres that in our midst today .

e e h and r ality w re t e watchwords of this theatre . The Little Theatre movement then Spread to Russia where Constantine S tanislavski founded the M oscow Art 6 T HE RISE OF T HE LIT T LE T H EAT RE

1 an e e f The atre in 89 0 . Its comp y was r cruit d rom ama teurs who had a reve rence for and a willingn ess to se rve

h e e e e o f t e theatre . Unparall l d hard work was d mand d A e . s e e e e e e e . th m th y progr ss d , small salari s w r paid th m When th e ﬁnances of th e th eatre reached a more solid B h e e e . ut t e basis , the salaries wer incr as d work was not diminished All or nothing is th e motto o f th e M os

Ar T S o th e e e cow t heatre . strong was public r spons

to their since rity that from a poverty - stricken beginning they progre sse d ﬁnancially until two decade s late r they

The were making upwards of a year . change from poverty to afﬂue nce did not in th e least affe ct their

e e for working policy . It simply mad it possibl S tanis

lavski to give more and more be autiful production s . ’ ’ Th e most noted o f his productions we re T ch eko ifs

’ ’ S eaGull ; Gorky s L ower D epths ; M aete rlinck s Bl ue

’ Bird S e e e H aml et ee e e , and hak sp ar s with scr ns d vis d by — Gordon Craig plain cre am colored screens ﬂooded with

1 6 lights o f varying color and intensity . In 89 this com E pany toured urope .

A T be ee ll growth includes change . hus it will s n that the Little The atre idea as it expanded gained gre ate r

ne e e catholicity . On the o hand it dev lop d naturalism — and on th e other hand symbolism aspiritual roman ti cism touched with myste ry and beauty such as is found h f in t e plays o M aeterlinck and S ynge .

D e e W s ian ski th e e P uring thes y ars y p , gr at olish

e e e e e e paint r and po t , had stablish d his own th atr at

C e h e e e e e e . racow , wher d sign d and paint d his own sc n ry

T a t a c his w s in he m in symboli scenery, and by means of T HE RISE O F T HE LITT LE T HEAT RE 7 original and extraordinary lighting h e also created an

“ S o ﬁ ne e e e o f e ﬂe t illusion stage . w r som his c s that se ver al well - known English critics credit W yspian ski

h M O S O A rt T e e with gre atly inﬂuencing t e C W h atr .

“ Wysp ianski aimed to make his theatre th e theatre o f ” h P e T e e t e olish conscience . It was a Littl h atr with

e P nationalistic inclinations . It produc d plays by olish

e be h e P C authors . It strov to to t olish drama what hopin

P e e . is to olish music , inspirator and int rpr ter

’ H ow far W y spian ski s A rt Theatre inﬂuenced th e next

e e be e e R th e A rt T e th atr to stablish d in ussia , heatr of

M e V eraKommisarzhevsk th e adam y y , Russian actress P B e be e e e . ut ( trograd , cannot d t rmin d this

Petrograd theatre devoted itself to symbolism and sym~ bolic e e e e e plays , xp rim nting with th s ; making no attempt ‘ e e e th e f to xp rim nt with e theori s o naturalism . Th e Convex M irror Theatre o f Petrograd was estab lish ed 1 1 1 T e T e e R in 9 . his Littl h atre produc s ussian

e e e plays that hav political as w ll as literary signiﬁcanc ,

’ A n d re effs S abine Women e e s such as y , and plac s l s stress on stage decoration than does th e M oscow A rt

T e h atre .

’ 1 8 1 E e T the e e t In 9 ngland s ﬁrst Littl heatre , Ind pend n

T e r e e T G e . h at , was start d in London by . . r in It made J — no scenic innovations ; but it produced plays both one

e e —b E f e act and long r on s y nglish and or ign authors . It had a subscription system and from this de rived a small

e— e e incom bar ly two thousand dollars a y ar . It lasted

e the as six y ars , and was precursor of much that w dramatically valuable . 8 T HE RI SE O F T HE LITT LE T HEAT RE

Then came the S tage S ociety ( 1 89 7) whose actions are discussed in th e brilliant pre faces of George Be rnard ” T S the o f a S haw . his ociety had in it makings

But e i e T . e e Littl heatre its performanc s w r sporad c , largely owing to the fact that it had no permanent th e

N e T e e ea atre of its own . othing can kill a Littl h atr id

e e e Ne e more quickly than lack of a p rman nt hom . ith r

e f N o had th e S tage S ociety a perman nt band o playe rs .

e e h e e S t l iza scenic experim ntation was mad by t S oci ty . y

e tion was unthought of . Its emphasis was placed sol ly on repertory . Th e next movement which might have resulted in a

T th e z o f th e P e Little heatre was organi ation Irish lay rs . But with th e establishing o f this group one fact o f ve ry

e e e e e e e gr at signiﬁcanc b cam appar nt , nam ly, that whil in itsel f th e Irish movement probably would not have

’ come to fruition if Antoine s T heatre had not prepared

e t e the way for it , wh n it came it was not strictly a Lit l

T e e a tion l T e heatr mov ment ; it was Na a h atre movement .

The A e T e e e o f bb y h atr gav the plays its own nation , not f o e . e oth r nations It was not e xp rimental . It sought

new ffe s — e e n e ffe no e ct unless simplicity b call d a w e ct . It is a repertory group rathe r than a Little T heatre

e Nationalis — T group in this resp ct . m not Little heatre

— th e th e P e ism is note of Irish lay rs .

T w the 1 0 1 1 hereafter, bet een years 9 4 and 9 3 group after group o f players with Little Theatre attribute s w B e Th ere established in the ritish Isl s . e M anche ste r

P e e M H orniman e layers , found d and dir cted by iss , hav th e a e T c tholicity that is the hall mark of the Littl heatre .

1 0 T HE RISE O F T HE LIT T LE T HEAT RE

f H ad th e e r they only gave sporadic per ormance s . p formances been consecutive the re was th e making o f a

f Th e e th e wonder ul folk theatre in these groups . mor

e e pity that the performanc s did not continu . The desire for Little Theatre s is e verywhe re mani fest in England yet in only two instance s has this de sire

i T he A T e e touched actual ty . fternoon h atr in London

T th one l T was of brief duration . hus e r eaLittl e heatre o f B e e the ritish Isles having intimacy , exp rim ntation , and variety in choice o f plays with a ﬁ ne ense mble to act

’ e Ge e K e T e e th m is rtrud ingston s Littl h atr in London , whe re that admirable actress - manage r has striven to give the British public the be st work of the ir own authors

f Th e ar ffe e and o foreign authors . e Gr at W has a ct d this

e B e e M K th atre as it has all ritish th atr s , and iss ingston and her company have spent part of their season in th e

United S tates .

M e e G e e e e anwhil , in ermany, wher th r had for g ner ations been small court theatre s but no real Littl e Th e f R T e e e o M ax e . atr , th re ros the star inhardt his great produce r began his stage cra ftsmanship with a Little

T R e e e ee heatre . inhardt and his intimat s us d to m t in

3 Be e for e rlin r staurant , where , their own del ctation , they

e - gav one act plays . Th e ide a of intimacy on th e part o f players and audi ence took such hold on Reinhardt that h e and his group th e S chall und Rauch group the y called themselve s

e e - h Kii n s l rh Th e e t e t e aus . e mov d into a th atr hall , n xt

’ e the K e e T e step was to inurn this nam , and l in s heatr ” r T e ih sp ang from its ashes . his th atre had a draped T HE RISE O F T HE LIT T LE T HEAT RE 1 1 terior—the e e e e B drap ri s h ld in plac by ocklin masks .

T e e e - - e h ush ers w r in odd black and whit costumes .

In this Little Theatre we re produced one - act plays by

S e W e W e e H o fm n h ast al . trindb rg , ild , d kind , and Von

l In 1 9 0 5 R einhardt was called to the directorship of the

D e e T e e e e e - utsch s h atr , a th atr of the larg non intimate B R ’ type . ut e inhardt s inte rest in the intimate theatre

N e h D e T still continued . xt door to t e eutsch s heatre was

T Re a dance hall . his inhardt promptly remodeled into

e e e e e e H e a th atr s ating thr e hundr d p ople . called it the

Kamm r i h e . Th e sp el au s . Its name d notes its purpose e large theatre was comparable to a large orchestra : this , e e e small th atr was comparable to chamb r music, as its

B - e e e title indicates . oth one act plays and long r plays w r

h K mm r i lh produced in t e a e sp e au s . Experimentation is the dominant note of the Kam mers ielh u The a e e e e p as . naturalistic dram was r pr s nt d

e S W f the by such playwrights as Ibs n , haw , and ol , and one - act plays of S trindbe rg and S chnitzler ; while th e

e e e e M e G po tic drama was r pr s nted by a terlinck , oethe , Th H o fman sthal E S e . e Von , and duard tuck n settings f r But e o these plays were austerely lovely . for lov of e xpe rimentation Re inhardt added a third type o f drama

—the e e e e S al ome d corativ drama , mbodi d in such plays as

S u ur u T e R e e e and m n . o th se inhardt gav xotically gor

e e S u rnurun he e e g ons s ttings . In show d how costum e ffects could be marvelously h eightened by the u se of

e e F or e e sc n ry without pe rspe ctive . , with all his all gianc

th e e m M ax R e a to mod s , einhardt is ﬁrst and for most

H e e . sup rb colorist , decorative rather than analytical is 1 2 T HE RISE O F T H E LIT T LE T HEAT RE

e ar Th e T e a o n o t e . at h t r manticist, a r alist Little heatr might have b ecome narrow had it devoted itse lf solely

But men R to th e production o f realistic plays . like e in hardt and S tanislavski pointe d th e way toward new accomplishments in cre ating th e de corative drama that

’ e for e e e e e e e xists b auty s sak , that mak s no pr t ns at r ality ,

e e that is imaginativ and not photographic, that b longs to

h Th e t e world of vision and dre am . decorative drama has nothing whateve r to do with th e false romanticism which e xiste d previous to th e founding o f th e Theatre

A e n f ee ew e . ntoin . It is , r , and spl ndidly colorful It f h wide ns the e xpe rimental scope o t e Little Theatre . T h e A rt T he atre e stablished in M unich under the direction o f Ge orge Fuchs showe d the direct inﬂuence o f e Th eatreism be e Littl , although it cannot called a Littl

T e e e . h eatre . It is a small th atr with a small stag It stre sse s the value o f intimacy b etwe en playe rs and audi

ar o f th e e e e e . e e e e nc Its s ttings simpl st , ﬂat p rsp ctivel ss backgrounds in the manne r o f R e inhardt ; yet lacking

’ R r N e inhardt s colo . eutral tone s and ascetic line s mark the z o f th e M A rt T I e styli ation unich heatre . t do s not e e N or e xperim nt with scenic innovations . is it ntirely

r f h devote d to d ama . Like many o t e court theatre s of

Ge e e A e e . rmany, it alt rnat s plays and op ras rchit cturally it is on e o f the most beautiful o f th e Littmann th eatre s ; but as a creative force it is infe rior to th e Kamme rspi el

o f M ax e haus R inhardt .

1 0 e e e T A In 9 7 cam anoth r sali nt Little he atre . ugust

S e e e e A trindb rg , whos p lays had b n produced by ndré

A was an ntoine, more d more impressed as time went on T H E RI SE O F T HE LIT T LE T HEAT RE 1 3

o f h 1 888 with the possibilities t e intimate stage . In 1 889 he attempted to e stablish a S candinavian E x pe ri mental Theatre at H olte near Copenhagen for th e p ro

o f T e e duction his own plays . his proj ct was abandon d

’ f e S e P ar iah Cr editors ee e a t r trindb rg s and had b n giv n , and it was not until 1 9 0 7 that his plans in this direction

f th e e o f A e . t e cam to ruition In hat y ar, with h lp ugust

F h e establish ed ' th e e T e e S alk, Intimat h atr at tockholm ,

S e H e e e e A e r e th e w den . b li v d as did ntoin in ducing

“ stage setting to inte rchange able backgrounds and few

e stag prope rti es . S cenic Simpliﬁcation was one o f th e ide as for which

R e e e e he strove . p rtory and e xp rimentation we r part and parcel o f this theatre which p r oduced only th e plays

o f S for h e e ﬁ ve trindberg , and which wrot dramas

“ marked by th e same blend o f mysticism and realism P l ” that form such a striking feature o f Th e D r eam ay . T his Intimate T he atre se ate d two hundred people . Its

n company was a resident o e . M eanwhile other Little T heatre s we re springing up in

o f E e B e B e e the capitals urop . russ ls and udap st had th ir

P e G m e e . G intimate playhous s aris had its rand ui ol , a typ

of theatre which produce d on e - act plays whose le it moti f ” e e S e e was horror . It was a theatre wh r hocks w r

e e e zz e o f E A Poe guarante d , wh r the gri liest tal s dgar llan

P e found their dramatic counte rpart . In aris Jacqu s Rouche established his Theatre d es Arts ; and th e

P T ea da e th e e arisian h tre Vieux Colombi r, last Littl

T e f e th e G War heatre to be e stablished in Europe b or reat ,

as w also one of the most signiﬁcant . Its originator and 1 4 T HE RISE O F T H E LIT T LE T HEAT RE

e C e o f : e director, Jacqu s op au , says it It is stablished

e m e are because I , mys lf , and those who work with f ” e nemi e s o the comme rcial theatre as it e xists today . H enri Pi erre Roche says o f Jacques C0 p eau : H e is to th e mode rn the atre of F rance what Antoine was to

P e - ﬁ — T aris tw nty ve years ago its soul . hrough this Little Theatre the intellectuals o f Paris hope to see th e

e e e e e e r habilitation of theatre id als . In th ir arn stn ss and

’ simplicity Cop eau s group o f playe rs strikingly suggests

P e But C e e th e o f the Irish lay rs . op au produc s plays all h f H i t e o one . s e nations , not plays nation is a Littl T T N e e . heatre , not a ational h atr S peaking o f this Little Theatre C0 p eau has re cently said : W e have a small theatre with only ﬁ ve hundred

e e e e e e e seats , which allows our nt rpris to liv in xp nsiv ly

P ' and to be by far the cheap est theatre in aris .

th e N e Our troupe is engaged and paid by year . ot ’ f that all th e ladie s costumes are urnishe d by ourselves .

e e th e th e Our public , sp cially at beginning , was culti vated —th e e e th e for few stud nts , writ rs , artists , and eigners who live around th e Latin Quarter .

“ W e do not know what th e The atre o f T omorrow will be like ; we are simply the enemi es o f the com i ” merc al theatre as it exists today .

M e C0 eau A e e e onsi ur p is now in m rica , and will r viv his Théétre daVieux Colombier in New York next s eason .

1 1

Th e Little Theatre movement reached the United

1 - 1 2 e ee e T S tates in 1 9 1 9 1 . In that y ar thr Littl heatres T H E RISE O F T HE LIT T LE T HEAT RE 1 5 were e stablished : The Little Theatre of M aurice Brown

’ r G e T o T e B M s . e in Chicago ; Lyman al s y h atr in oston , ’ — and Winthrop Ames Little Theatre in N ew York the last a Little T heatre in its architecture rathe r than in

S e th e e e e e The its policy . inc stablishing of th s Littl atres the growth o f th e Little T heatre movement has

n e e e th bee n so rapid and sponta ous that at pr s nt, in e

e o f e T e e e e matt r Littl h atr s , num rically sp aking , our 1 h e f e T country leads t e world . Ov r ﬁ ty Littl heatre s

th e S have sprung up throughout United tates . It can not be claimed for them artistically (save in one or two

e e th e e T e e o f E instances) that th y qual Littl h atr s urope .

But be for — N ot yet. it can claimed them and justly that they have greate r differentiation than the Little The

r f E e e e e e o f H at es o urop v r dr am d having . erein lies

E e T e their enormous value . v ry Little h atre now e xtant in the Unite d S tates has met and conque red problems as

e ff e T r wid ly di er nt as can be imagined . hey ae racially expressive o f Ame rica in that they show an indomitable

r pionee spirit . F or th e problems they have conque red are not only

e o f e e e Th thos art , policy , and ﬁnance such as v ry Littl e atre in Europe has had to face ; but also those of varying f e o ee . E e localiti s , varying n ds and conditions urop has centurie s o f culture behind he r : and her Little Theatres

e f e e hav ound th ir audi nces ready and waiting . In th e United S tate s th e Little Theatre in many cases has to

e e f e creat its l and its audience at the same time . In ach o f th e European countri es Little Theatres have centered

S e A nd x e pp e i II . 1 6 T H E RISE O F T HE LIT T LE T HEAT RE

e fe e M Lon th e intell ctual li of such larg r cities as oscow ,

P h e S e e Be . t e don , rlin , and aris In Unit d tat s , citi s and

e e e e n suburbs , s ashor villag s , prairi towns and mountai

- T e e farm lands have the ir Little h atr s . America has had to expand the ideao f a Little The atre in orde r to meet th e thousand difi e rent nee ds of th e

T l ed th e e o f n ew country at large . his has to cr ation — types o f Little T he atres type s which Europe has neve r

E e e e T e e seen . urop has no collapsibl Littl h atr that can be packe d up and move d in le ss than six hours ; no college laboratory the atre ; no Littl e T heatre for farmers such

N e as one o f our W e ste rn S tate s can boast . ither has Europe a be auti fully equippe d Little The atre set in th e

e eao f th e z e v ry h rt a city slum , showing sociali ing forc

h T e r o f t e Little h eatr as a community asset . N o from Petrograd to Paris is the re a cultural Little Theatre f Y where admittance is absolutely ree . et all the se types o f A Little Theatre s exist in merica . It is true that many o f th e Little Theatre s in E urope B A began in hired halls . ut even ndré Antoine might gaze with astonishment at th e ingenuity with which Little Theatre directors in this country have grappled

o f - - - - Th h be . e e t e with the problem no hall to had stabl ,

e e th e e th e e chap l , the art mus um , masonic templ , privat

th e e e th e e ee dwelling house , stor , and ven saloon , hav b n made into charmingly decorative Little Theatres in this country . While an abandoned ﬁsh house in a picture sque M assachusetts town has been so m etamorphosed that S tanislavski hims el f would applaud it !

T is e here , too, wid dissimilarity in the policy of the

1 8 T HE RI SE O F T H E LIT T LE T HEAT RE th e world change s eve ry ten years and th e Little Theatre can easily Show forth this change . F or ﬁrst and last th e Littl e T heatre is a theatre o f

Be f e e o f th e e imagination , of thought . or the adv nt Littl

Theatre in this country poetic drama went starving ;

N ow fantasy shivered in the biting wind of neglect .

f e - e poetry , antasy, grim r alism , star dust pantomim , and

T B e f tingling satire ﬁnd place in the Little heatre s . ri

r H e e social p re achm en ts hav e th ei say . istorical p rsonag s

e the e T e e live, move, and have th ir being ; for Littl h atr

Th the e . e is nothing if not inclusiv historic play, prob l m th e e e play, and play with or without a purpos can all

ﬁnd space on its boards .

The one - act play make s a special appeal to Littl e Th e

e e e atr play rs because , being short , it r quires less sustained characteriz ation than a long play .

There is anoth er reason why the one - act play has be

f th T e come a nece ssary concomitant o e Little h atre . S ince the Little Theatre house s a democracy of artists e ach artist must be given an Opportunity to reach his

Th e e e th e o f e Th e public . mor vari d programs the Littl

ff An e th e e th e for . eve atr , great r opportunities its sta ning o f one - act plays give s the players a chance to appear h e e in s eve ral parts ; give s t e costum and sc nic artist a.

e chance to try out s everal designs . No comm rcial the

o f on - atre produces programs composed e act plays . T here fore the Little Theatre has th e ﬁe ld to itsel f in

T f e h this respect . o the production o th se plays t e work e rs in Little Theatres bring since rity and in many

n e F cases a kee s nse of dramatic values . rom the ﬁrst T HE RISE O F T HE LITT LE T H EAT RE 1 9

Little T heatre companie s in th e United S tate s have real ized that wonder an d be auty o f effect can be obtaine d

T e through inexp ensive as well as e xpe nsive means . h y — e mploy simplicity and suggestion true corner stones of h t e signiﬁcant in art .

A s th e e o f th e th e e T e e to cont nt plays , Littl h atr s of the United S tate s produce many of th e same plays that ar T e e e e e o f E e . giv n in the intimat th atr s urop hat is ,

e e E e th y giv plays by urop an dramatists , and also plays

A e T e e e by m rican authors . h y provid our nativ play wright with a place wh ere h e can come into his own .

A s et A D M e e y merica has no unsany , no a t rlinck , no

B h r T D unsan s S ynge . ut e Little heatres give incipient y

M e e e e et e and a t rlincks a chance to exp rim nt , to g a h ar f e e e e e . S e ing , a thing th y hav n v r had b ore om com pe llingly intere sting on e - act plays by native authors have

ee th e e ffe e f e o f A e b n r sult , plays showing di r nt ac ts m ri . f f e e e e e e o e . can li , int rpr t d both in t rms com dy and trag dy In scenic investiture several o f th e Little Theatres o f th e United S tate s are rapidly approaching th e Euro

e h S e P t e W . p an standard , notably ashington quar layers At devising remarkable e ffects for ve ry little outlay th e Little T heatres in th e United S tates surpass their E uro

e e The e e u se o f p an cont mporaries . much fam d sc nic potato sacking by th e Irish Playe rs fade s almost into insign iﬁcance compare d with what some little American Theatre s have accomplished for H istrionically the Little Theatres o f the United S tates

e th e e T o f E M o f do not qual Littl heatre s urope . any the ir players are at th e stage where the M oscow Art The 2 0 T HE RISE O F T HE LIT T LE T HEAT RE

Al l atre players we re be fore they perfected their art . th e playe r s in th e Little Theatres o f Europe have become

f P e th e e T e e o fth e pro essional . lay rs in Littl h atr s United

— - S tate s are o f two kinds pro fessional and semi pro i es

I f f he e e e e e . e t sioual pro ssional , play rs r c iv a living wag ; if r T i e e e e . e ve . amat u , no wag at all h y g th ir servic s They are what one critic has te rme d amateurs on th e

f e e e th e way toward being pro essionals . In ith r cas com

ne e e e pany is a resident o . It do s not trav l about xcept

f r e e or e f e e . e e p rhaps a bri stat d p riod Its th at is its hom ,

e e . z e . and th r it stays It is not hapha ard , it is st adfast O ne o f the ﬁnest things accomplished by Little The atres in this country is th e fact that they bring new quickening art force s to the smalle r towns that would otherwise never s ee th e changes that are be ing wrought in stage de coration as well as in the conte nt o f modern

e e e f e plays . Int llectual and d corativ drama , r sh outlook , and ke en stimulus are thus put within th e reach of those

f r e o e . one e S a who hung r th m It is thing to r ad h w , and anothe r to get the impact o f his dialogue as the play

th one e is acte d on e stage . It is thing to h ar of sim

l icit o f th e e e S ee p y of line , b auty obtainabl through h r

see color, and another thing to line and color w ork their

e miracl .

A e Theatreism be f h bove all , Littl must not con used wit

e e P e are e privat th atricals . rivat theatricals xactly what t e e — iv te h eari al T hat nam impli s pr a and t t c . hey are given by a coteri e o f amateurs be fore anothe r cote rie of

e for th e e o f th e e amateurs pur ly sak amus ment derived . T here is nothing o f th e pote ntial artist in the labors of T HE RISE O F T HE LIT T LE T HEAT RE 2 1

T e are these amateurs . h y not working toward a goal th f nothing that th ey do is intentioned . In e matte r o

r e e e e A nd las t plays they ae cont nt to r p at : neve r to cr ate .

h t n bu t n ot l eas t the are n ot ud ed b t eatre s adards . , y j g y

The e T Private theatricals invite leniency . Littl heatre

Th e the e e . invite s criticism . form r is social latt r artistic In fact th e spirit of Little Th eatreism is as far removed from private theatricals as is painting on china from a P ennell etching .

T re Little heatre s a not imposed on the community .

- — T o f e ee hey are the natural outgrowth its art lif fr , spon

T e ar f ee taneous e . e , resili nt h y r in spirit , in outlook , in — p ecuniary standard free as no comme rcial the atre ever

T th e e the o f can be free . h ey are h ralds of theatre to

h e f morrow ; a disturbing factor in t e th atre o today . D avid Belasco has lately said : Little T he atres are T ” A . e e a menace hey cannot last . critic promptly r pli d

’ e e e e e ! The If th y can t last , th n why are th y a m nac old order changeth and th e Little Theatre is responsible

for the the o f th e change . It has put art into hands

e e e o f th e o f th e oﬂi ce p opl inst ad into hands box , and

o f th e e l e e e art that is p op , that is nativ and auth ntic , is

f e a orc to be reckoned with in all age s and all clime s . The ve ry littlene ss of th e Little Theatre is its sa fe

T n . e e e e e e sce guard her is no vast xp ns for r nt , salari s ,

er e e e y , costum s , h at , light , printing and adv rtising , such

the f Th e Th e as commercial th eatre has to ace . Little

e e e e atre is not forc d to pl as a larg majority, does not

e e consid r what the public wants . It can advanc towards the goal it has set for itself unhampered by th e d ifﬁcul 2 2 T HE RISE O F T HE LIT T LE T HEAT RE

h t e e . e ties that beset commercial playhous Ind ed , all

f r Pe e di ﬁculti e s ae promptly overridden . rhaps b cause th e e e th e mov m nt in this country is young it has daring ,

- f h the th e e e u e o . t e th e ardor, ag r p struggl youth It is f f atre o the Future . It has no musty traditions to all

e e e . e . back on , no hid bound th ori s It ho s its own row W ith its audience it creates and fulﬁls a demand for th e best . A noted critic has recently observed that h e could tell whethe r th e art life o f a city was an affectation or a

e e e e T e r ality by inquiring wheth r it support d a Littl h atre .

e th e e o f th e I f It was like fe ling art puls community . a Little Theatre e xisted then that community was a thriving

th e e o f I f e e e . plac , cr ativ ly , in all ﬁn r things culture a Little Theatre did not e xist then that place was artis

e e tically moribund . Lik all wit his rapi r thrust had a

o f for e T e e e ﬂash truth , a Littl h atr is made possibl by spirit rath e r than by money .

N S E W e e e orth , outh , ast , st , this country has r spond d

T Ne h th e e e e e . w t e e to Littl h atr movem nt York , larg st

th e th e e e e o f city in country, naturally has gr at st numb r

e T e e e e e e Th e Littl h atr s , and mov m nts instigat d by Littl

’ A e e T e e e atres . W inthrop m s Littl h atr has alr ady been

T e e are th e W S m entioned . h r also ashington quare

P e th e P P e th e N e lay rs , rovincetown lay rs , ighborhood

P e th e P e T e e th e G e e layhous , ortmant au h atr , r nwich

e T e e th e E - W e - P e th e B Villag h atr , ast st lay rs , ramhall

th e T G P e e W e e . layhous , and in proc ss orkshop h atr roups o f N ew York playe rs directly inﬂue nce d by the Little Theatre idea include the M orningside Players and the T HE RISE O F T HE LIT T LE T HEAT RE 2 3

B C R e e N egro Playe rs . rooklyn has a ommunity p rtory

Theatre dire ctly traceable to Little The atre inﬂuence .

I M N e N . . R H . . ichmond ill , L , and ontclair and wark , J,

f P T e e have e ach a group o Community layers . h r is a R N Y N . e e . . T e e e . W orkshop h atr at Yonk rs , Y och st r , , has a Little T he atre and also a group called The Prince

ree P e B e e T e e B ff S t t lay rs . ridg port has a Littl h atr ; u alo

h e e T e e has t e D rama Le ague Playe rs and th ir Littl h atr .

P e B e N M s P hilad lphia , altimor , orthampton , as , and lain

l H t T r E ﬁe d N e e e e . e . S o , . , hav Li tl h at s have ri and

Brookﬁeld P Ne r e e are e e . w , nn O l ans and Louisvill stab l ish in T T e e e e g Little heatres . her is a r c ntly start d T D e e e . C ee W C . Littl h atr in ashington , hicago has thr T D K e e e S t. C Littl h atr s ; uluth , Louis , ansas ity , Los

A e D e G e F e e e e . ng l s , troit , al sburg , and Lak or st , Ill , hav

’ e T e F r K D e . S o e a o an d e N . . Littl h atr s also hav g nsal ,

T e e ee e e H Laboratory h atres hav b n stablish d at arvard ,

C e e e D arn gi Institut , and artmouth . Wisconsin is justly

o f P e M proud its Wisconsin lay rs . ovements toward e e T e e are f M e stablishing Littl h atr s a oot in inn apolis ,

S t. P C P C P aul , olumbus , ittsburgh , incinnati , and ort

O re . land ,

T o e e e e e T e e e d scrib th s Littl h atr s , th ir contributions

e e e and achi v m nts , is the purpose of this book .

2 6 LITT LE T HEAT RES O F N EW YORK CIT Y

e e h e e B this th atr , originally produc d it in the larger ooth

T e h atre .

’ M r B D e e B P e . utler av nport s miniatur ramhall layhous is also a Little T heatre architecturally though not in

e e e e for th e policy , sinc it xists as a producing c nt r plays o f e its own r . It cannot be said too often that it is not th e seating capacity which determines th e status o f th e Little The T l f h e . e for e e th e e o t e atr ak , xamp , s ating capacity

e T e e o f E The e T e Littl h atr s urop e . Intimat h atre of S tockholm s eated 2 0 0 ; th e seating capacity of Ge rtrude

’ Kingston s Little Th eatre in London is 4 0 0 ; that o f th e

e C e r P 0 0 Yet o f e e are Vi ux olombi in aris , 5 . all th s

e T e re th e e e e o f th e Littl h at s in tru s ns word , imbued

e T e e e with Littl h atr principl s . T H E W ASH INGT O N SQ UARE PLAYERS

e P e o f T H E W ashington S quar lay rs , a group actors ,

e e e e e artists , and authors int r st d in stimulating and d v l O ping new and artistic m ethods o f acting and producing ” for the A e e e e e e and writing m rican stag , w r stablish d

T e are e the e e in 1 9 1 5. h y undoubt dly most int r sting

o f e T e e e . ee group Littl h atr play rs in this country Ind d ,

’ they might take th e S quare s Arch o f T riumph as th eir

e for f th e e e ee th e cr st ; , rom ﬁrst , th y hav b n among

f f e T e e e e T e most succe ss ul o Littl h atre xp rim nte rs . h ir name is apt ; as most o f th e playe rs live in th e W ashing

The e o i the e e ton S quare district . id a th atr had its

S e o f the inception in Washington S quare . om thing

’ S quare s lite rary and artistic do - as - you - choose - ness f Th f h e e . e ee t e e th e nu in us s th ir work r dom , oddn ss , expectedness o f th e Republic in th e Air ﬂavors the ir ff e orts . Like the S chall u nd Ranch o f M ax Re inhardt and th e

F e e T e e o f A e e o r h atr ntoin , th ir w rk had small (but pic

’ ture s ue e M ax Re q ) b ginnings . inhardt s S chall u nd

Rauch e e e Th group us d to m t in a re staurant . e Wash in ton S e P e e ee e g quar lay rs also us d to m t in a r staurant ,

’ ” th e f P Ye t f f amous olly s . most o all they oregathe re d

th e W S e B in ashington quar ookshop . Its two large high ceilinged rooms ; its white woodwork ; its bookcases ; its hundreds of volumes in gay colors lining the walls like 27 2 8 LITT LE T HEAT RES O F N EW YORK C ITY a tapestry ; its com fortable chairs and lounge ; its hos

i l ﬁ r — e e e e p tab e open e all tend d to mak it a plac to ling r in .

A ﬁ re one e o f bout this wint r night a group artists ,

A n f e e e e . d writ rs , and th atr nthusiasts sat talking rom that talk o f ways and m eans th e ide a o f a Little Theatre

N ot one o f th e e e t gre w . nthusiasts had any mon y wi h which to ﬁnance a the atre ; but all w ere dete rmined to

All e nd have it . were content to begin with littl a work

T e e f e for th e o f e toward more . h r or production th ir

ﬁrst experimental one - act play late in th e Autumn o f 1 9 1 4 they took th e back room o f th e store and built a

e A n small platform stag . curtain backgrou d was ar

e few e e e rang d , and a accessori s w re improvis d by a

e e n ew e e e e young man int r sted in id as in sc n ry, nam d

S e e e e for Robert E dmond Jone s . ats w r arrang d an audi e e o f f e e e - ﬁ ve e e nc about orty p opl , tw nty c nts a s at was

’ Th e D unsan th e price o f admission . play was Lord y s

li t n An d G e G e e for th G t eri g Gate . a litt ring at it prov d e Washington S quare Players ! Th e succe ss o f this ﬁrst tiny e ffort fanned th e ﬂame o f e h H T e e e . o th ir e nthusiasm . e r st is th atr history w this group o f young pe ople passe d th e hat and rente d for a fe w pe rformances early in 1 9 1 5 th e Bandbox Th e atre in an in - get- at- able part o f town ; a the atre wh ere pro fessionals had faile d ; how th ey gave week - end p e r formances of one - act plays that we re slightly crude as

e e to acting, but ﬁlled with new ideas in inv stitur and con — f tent all this has become known rom coast to coast . Th eir ﬁrst program at th e Bandbox consisted of four

- : I nteri r ae Licens ed one act plays o , by M terlinck ; , by T HE WASHINGT ON SQUARE PLAYERS 2 9

B e e E u enicall S eakin E G asil Lawr nc ; g y p g , by dward ood I t m A n oth er n er ior . man ; and , by an anony ous author

Licens ed A n oth er I n ter ior E u enicall S eakin , , and g y p g were excellent : but it was the wonde r fully sustained

’ atmosphere o f M ae te rlinck s I n terior that gaine d unive r

e sal prais . This succe ss e ncourage d th e W ashington S quare Play e rs to give four per formance s weekly for th e re st o f th e

e D e e e e s ason . uring this tim th y continu d to produc programs o f one - act plays by American and fore ign

Th e ts e e e e e authors . ou tanding succ ss s amongst thes w r

’ H olland H udson s e nchanting pantomime in black and

' ’ e Th e S h e h erd n th e D is tance M e e whit , p i , and a t rlinck s

M iral e o A n th n e e e e c S t. o f y , with an aust r ly lov ly sc ne

e e Lee S F or bidd en F r u it A n A r ti d sign d by imonson ; ,

cialit Ge e S f F e o f ﬁ y , by org Jay mith , rom the r nch Octave F e e e e se t R e e uill t , with a d corativ by ob rt Lock r ; and

Tw o B lind B e ars and ne L es s Blind P gg O , by hilip

M e e one o f th e e th e W o ll r , grimm st plays ashington

S e P e e e e e e quar lay rs hav produc d . S c nically int r sting

’ th e for G S aviors also was set oodman s , an interior in

AdaR e E ee e e . black and parrot gr n , d sign d by ain y ven

e e e th ir programs at this tim wer odd and intriguing,

e printed in black on h avy gray wrapping paper . At this period the Washington S quare Players had the e e Ne - only th atr in w York which gave one act plays . In spite o f th e many expense s incident to starting a new company and mounting new plays they asked a uniform

e o f f e for th e e pric ﬁ ty c nts balanc of their ﬁrst season . They the n leased th e Bandbox for the whole season of 30 LITT LE T HEAT RES O F NEW YORK CIT Y

1 9 1 5- 1 9 1 6 and gave th e customa r y e ight pe r formance s

o f f T e th e o f a w eek instead our . his m ant assuming f e e e th e e e urth r r sponsibility in r nt, and pric s ros accord in l O ne e for - th e e g y . dollar was ask d two thirds of s ats

h f f r h t e e e o t e e . in hous , and ﬁ ty c nts r maining third

Th e B 2 andbox s e ats 99 . It is sa fe to say that no on e in th e company had mor e

T e e e for e o f than a living wage . his th atr was start d lov

n tim e for e o f e . ew s u id as , not lov mon y It struck a and lating note to which most o f th e N ew York critics in stantl T h e e the e : y re sponded . public flock d to theatr a group o f permane nt subscribe rs was secure d : this gave h P Th e t e layers definit e financial backing . subscription list grew rapidly ; and th e experimentation o f th e Playe rs

e t k pt pace wi h it . F rom th e ﬁrst it be came appa re nt that th e Washington S quare Playe rs had a ﬂai r for th e unusual in th e content

e o f e T e e e and insc nation th ir plays . h ir sc n ry , simple to th e e e o f e e v rg starkn ss , had color and atmospher that stampe d it inde libly on th e mind o f th e behold er ; their — programs had varie ty and intere st indeed in their gi ft for making programs th e Washington S quare Playe rs are f f ﬂ Th e ew e e e o e ect. , with xc ptions , mast rs plays in their repe rtory are always in strong contrast and have

e e lit rary or historic valu . A s an exampl e o f the ir gi fts in thi s direction take

e e one e e n e two sp cim n programs , r pr se ting their arlier

one e work and the ir lat r work . T HE W ASHI NGT ON SQUARE PLAYERS 3 1

I n A ril o e Paor S o e F or bidd en F r uit p , by R s st t k s ; , by Geor e a S m t S aviors E ar Goo ma A M ir a g J y i h ; , by dw d d n ; t n r aet r n An h o M e M e . cl e o S t. f y, by au ic li ck

Th e ﬁrst o f these was a picture o f a slum tenement and the blighting o f April hopes through th e curse of T h e e . e e poverty . It had a dun color d arid s tting s cond was a gay fantastic triﬂe with a d ecorative costume set

Th e th e e o f ting . third play on list was a s rious study the f e e hal world probl m stag d with a striking , vivid ,

Th e f ultra modern background . ourth play was an ironic mode rn morality showing that only th e simple hearted posse ss true vision . It had an austere neutral

e e e e . tint d s tting , ﬁn ly compos d E ach of these plays repre sented a diffe rent idea and a

fe o f e e e e e ffe e di f rent strata soci ty, ach r pres nt d a di r nt

f o f e way of looking at li e . None th m w ere such as would overtax the histrionic powe rs o f th e pe opl e taking part

th e W e P e e in them . In this ashington S quar lay rs show d

T e th eir wisdom . h ey b gan with plays that we re more f or less within th eir own range o histrionic e quipment . As their dramatic ability grew they attempted plays

f f n e more di ﬁcult o interpretation . I this sp cimen pro gram the fourth play was th e most valuable and sig

iﬁ n n cat.

Latterly the Washington S quare Players have adopted — — the custom and a wis e one o f making their third one

h - h act play dominate t e program . In a four act play t e h T third act is always t e important act . hus in a program

- of four one act plays the third play on the list, if the 32 LIT T LE T H EAT RES O F NEW YORK CIT Y

e e e e if the e strong st , pr s rv s dramatic unity as whol pro

O f e o f e e gram were along play . this m thod proc dur there could be no bette r example than th e W ashington

’ S quare Players most successful program which is given here as a second specimen .

Triﬂes a G a e A n oth er Wa O u t Law , by S us n l sp ll ; y , by e e n e r B us hid o Tae z o Al tr uis m r nc Lang ; , by k da I um ; , by

K r a l Ettlinge r .

Th e ﬁrst o f th es e was a stark tragedy o f th e life o f

’ a farmer s wife pieced together by h er n eighbors as they obs erve d h er kitchen after sh e he rself has been take n to f h T jail as th e suspected murderer o er husband . his plav

Th e e had a drab forlorn s etting . s cond play was an ironic comment on the free unions that ﬂourish on W ash in n e gto S quare S outh . It show d a man and a woman

ee the o f e e ﬂ ing bonds matrimony , and v ntually ﬁnding that only in the se bonds lay th e free dom their souls

T r s desired . his play had a p oste e que studio background

e and smart mod rn costumes .

Th e B us hid o e e third play , , was laid in ighteenth c ntury

Japan . Th e ste rn powerful th eme of its tragedy was th e sacriﬁce by M ats uo o f his only son in orde r that th e o f e Th e l ‘ son his li ge lord might be save d . lch cos tumes e e e ae Th e e e sugg st d m di val Japan . sc n against

the e e e e which actors mov d was asc tic in its bar n ss , and

o f e A e was largely made cr am colored screens . ﬂar of

e the e l i e A tru s m. color mark d d coration of the n xt play,

G e th e e aily striped awnings , blu sea in distanc , and mod F T ern rench costumes in th e foreground . his was a

T H E WASH INGT ON SQUARE PLAYERS 33

mordant satire on philanthropy . It had a punch end

e e e e ing . It show d the escapad s of a b ggar trying to coll ct

f h e th e money rom t e bystand rs at a smart resort , and reactions o fa crowd o fF rench boulevardiers to the s enti

A e the e ment o f heroism and charity . ft r boul vardiers

e e e th e b e hav disapp ar d , eggar , having had a succ ssful

ﬁne e e . day, skips into a coat and whistl s for his automobil W ith eve ry production th e acting of the Playe rs im

T e e e e prove d . h y had som thing to say wh ther th y said

e it awkwardly or not , and id as eventually overcome awkwardness . Part o f th e succe ss of the Washington S quare Players is due to th e fact that they all pull together ; every one

h r f r h f h works his or e be st o t e good o t e whole . Gradu

o f e e e e ally , out this t am work, it b cam appar nt that h P individual work would aris e . S ome of t e laye rs shone as scene painters ; som e at costume - de signing ; others were able translators of foreign plays ; some took the burden o f th e acting ; some put the ir talent to producing ;

e A e still oth rs to playwrighting , though the m rican one act plays they produced were by no means conﬁned to

e e thos writt n by their own group .

Pe rhaps th e best plays during the s eason 1 9 1 5- 1 9 1 6

e e P ierre P atelin th e F f e e w r , old rench arc , with d light

’ ful osteres ue e Lee S e B p q s tting , by imonson L wis each s

’ powe rful Th e Cl od ; Philip M oeller s splendid comedy

’ ’ H el enas H us band A e Ger stenber s Over tones—o ne ; lic g . o f th e most Original plays th e W ashington S quare Play

’ e rs ever produced ; and Z oe Akins M anhattanesque vers libre Th e M aical Cit drama g y, with a really mar TT E T H EAT ES O F NEW K C T 34 LI L R YOR I Y.

e e e on v lons s tting , a room with an op n window giving th e blue twilight sky o f N ew York and against this sky

t e e a slende r tower S pangl e d wi h lights . It is int r sting to note that o f the se ﬁve successe s four are by Ame rican authors . By this time th e acting o f th e W ashington S quare Playe rs had reache d a state wh ere it could be calle d ” f h pro fe ssional in th e true sense o t e word .

F or 1 9 1 6- 1 9 1 7 th e W ashington S quare Players took

’ the C e T e e one o f th e e N ew om dy h atr , small st of York s

“ playhouse s in th e the atre be lt . Its seating capacity is 70 0 and th e scale of price s now i uns from ﬁ fty cents to two dollars . T o many disce rning folk who followe d the Washing ton S quare Playe rs from th e ve ry beginning this rise

f ee e in price was a matter o sorrow . It s m d to curtail th f H e e one ee e idea o d emocracy . ow v r may disagr with

’ th e Washington S quare Playe r s change o f abode ( the rent o f th e Comedy The atre is a gre at deal highe r than

o f th e B on e ee e that andbox ) , cannot disagr with th ir

e e e Th d ﬁnit accomplishm nt . e W ashington S quare Play e r s may have change d th eir price s ; but they have not

e e r T e e chang d th i ideals . h y still choose th ir plays to suit

e e e Th f th ms lv s ; not to suit the public . e most succe ss ul

1 1 6- 1 1 B us hido e e e plays of 9 9 7 have been , a po tic Japan s

e e the e trag dy , its moving story nriched by imaginativ

o f o R e rOle S acting J sé ub n in the title , and by its ingu larly e ffective setting of cream color with touches of black designed by M ichio I tow and William Pennington ;

P l ots and Plawri h ts - y g , an hilarious two act travesty by T HE W ASHINGT ON SQUARE PLAYERS 35

E M e Altr uis m K E e A n oth er dward ass y ; , by arl ttling r ;

Wa O u t e e e e e e y , by Lawr nc Langn r, both spl ndid xampl s o f r e e Tr ifl es S G e satu nin com dy ; and , by usan lasp ll , a tragedy o f Ame rican farm li fe tellingly poignant in its

e H th e A er hopelessn ss . onors again go to m ican play

h 1 - 1 1 wright for t e season o f 1 9 6 9 7. At ﬁrst th e W ashington S qua re Playe rs had a tendency to warp some o f th e be st o f th eir work with ove remphasis o f sex A e e e e e re . b tt r balanc is now obs rvabl in this

T e r e e r . e e e spect . h i app al has st adily g own In th ir arli r

- productions th ey pleased th e high br ow and th e dilettant .

T e Pe e e th e h n their public widene d . opl oth r than high brow and th e dilettant are now drawn to th e Comedy

T N e A s one e e ee e . heatre . othing succ ds lik succ ss cl v r lady remarked : Th e W ashington S quare Playe rs ple ase

H - H o f r T e e N ew both igh brow and b au . h y hav shown York at large that there is some thing to be found in th e theatre beside some o f th e endlessly commonplace plays o f B roadway . Th e Washington S quare Playe rs have had several fail ure s ; s everal time s the ir programs have fallen short of th e high standar d th ey usually s et ; but in th e main their

are e e e e e e e e plays w ll s l ct d , play d so th y giv vari ty and

e et e th e e r e . surpris , y l nd whol prog am balanc and unity Wh ere e lse will th e drama enthusiast ﬁnd such a blend

e e e ! T h e e o f e of satir , b auty , po try , and wit satir th ir “ ” e N o plays has bit . program is complete without a

f e T e r ﬂing at popular oibl s . heir whimsi s ae staged with

ffe o f e e h an e ct truth that som tim s catche s t e unwary . F or in th eir comedi e s th e Washington S quare Players 36 LITT LE T HEAT RES O F NEW YORK CIT Y — can be sole mnly droll even about th emselve s . It is a theatre which demands that the people in its audi ence

e e e be sympath tic and wid awake . It will not allow th m

e to ch ck their brains with the ir hats . Farsightedne ss has been one o f th e keenest contrib ’ E T M r . d nting factors to this Little he atre s success .

G th e e o f th e e e e e th e ward oodman , dir ctor th atr , incr as d , “ membership list by offering the subscribers intellectual ” e T o f e e th e inducem nts . hese consist l ctur s on drama free to subscribers ; and private per formance s o f unusual

th e f th e e e plays given to subscribers , rom which g n ral

‘

th e season o f 1 1 - 1 1 6 e x public is excluded . In 9 5 9 an

’ qu isitely wistful performance of M aete rlinck s Aglavaine

d Th e e f an S élys ette was given . subscription p r ormance

’ of 1 9 1 6- 1 9 1 7 was Andreyeffs Life ofM an ( see frontis piece) . Th e policy o i the Washington S quare Players include s — ﬁve subscription pe rformance s a year o f one act plays

e e e o f e e e . and long r plays , as w ll as r vival pr vious succ ss s

These p e rformances ar e open to th e general public . Th e repertory syste m is adhered to e ve n in th e face o f successe s that would make a commercial manager

n Th e th e change his mi d about long runs . only run Washington S quare Players have permitted themse lve s

B us hid o e e e e e was in , the m morabl Japan s trag dy , which

“ one - e e f e th e e t o f saw its hundr dth p r ormanc , long s run ” one - N ew A e e W any act play in York , says l xand r ool

th e N i s e e cott of ew York T me . It could asily hav

e e - e e e r ach d its two hundredth p rformanc but , tru to his

M r . G n e . policy, oodman replace d it by a w bill T H E W ASHINGT ON SQ UAR E PLAYERS 37

Th e accomplishment o f th e Washington S quare Play F e rs in three years is little less than miraculous . rom the ir start in th e back room of a bookshop they have marched forward till they now have not only a theatre

f A f Th e but a school o acting . cross rom the Comedy

e e — atr is a tall narrow building , very ﬂoor of which and — the r e are seven ﬂoors is occupi ed by th e activities o f the

P H e e are the e e Washington S quare layers . r ex cutiv and

e fﬁ th e r the e e busin ss o ces , class ooms , pr ss d partment , ” the e e e e e e e at li r, and shops wh r costum s and sc n ry ar e At th e e e the W S e mad . pr s nt writing ashington quare Playe rs have the only theatre in this country which has

e a school in connection with its work . Its pupils , as th y

e e e advanc in proﬁci ncy, are giv n small parts in the com

T r e e h . ae e e t e e pany hey , mor ov r, abl to observ volving o f a play from th e time th e manuscript is accepte d

the e o f e e e e through stag s its sc n d signing , r hearsing , and costuming to its ﬁnal production . It is th e avowed pe rmanent intention of the Washing ton S quare Playe rs to produce new works by American authors and important plays by foreign dramatists that

e e e e would not oth rwis be giv n a h aring , always main taining our custom o f fre e experiment without which we

e e e The b li v progre ss in the theatre to be impossible . repertory o f th e Washington S quare Players has been as follows

1 9 1 5- I 9 I6

E u enicall S eakin b E r Goo n Licens ed g y p g , y dwa d dma ; , b Ba ar en e I n ter ior M ar e M aete r n y sil L w c ; , by u ic li ck ; ’ Anoth er I nt rior a L ove o n e , by an nonymous author ; f O e s 38 LITT LE T HEAT RES O F NEW YORK CIT Y

’ N ei hbor And re eff M Lad s H onor g , by y ; y y , by M urdock

Pe e rton M oond own Re e F r e F mb ; , by John d ; o bidd n ruit,

Ge r e a S t I n A ril e Pa r by o g J y mi h ; p , by Ros sto S toke s ;

S aviors b E Go a A B ear A t n T ch k , y dward odm n ; , by n o e off ; Th e S h e h erd in th e D is tan ce H o n H p , by lla d udson ; Two B l ind B e ars and O n e L es s Blind b P gg , y hilip M oe lle r ; Th e M iracl e o t A n ate r n S . n to M e t e e r f y, by li ck ( h s we e th e as o f th e t af ea n an d th e f n pl y ﬁrs h l s so , ollowi g th e p lays o f th e e n eao : Th e M aical Cit Z oe A s co d s s n) g y , by kins ;

Th e Clad e Be Chil dr en b u Bo t d , by L wis ach ; , y G y l on an

T om Car ton Th e A e o R eas on Ce D r n l ; g f , by cil o ria;

O ver ton es A e Ge r te e r Th e A n tick b Pe r , by lic s nb g ; , y cy

M c ae Th e R ed Cl oak o e A M e r n e . e a a k y ; , by J s phin y d ’ a re n e an n e H el en as H us bands and Th e R oad L w c L g r ; , h ous e in A r d en P M oe er F ir e an d Water , by hilip ll ; , by H e rve W te Literatur e A r r S tz e r A lavaine y hi ; , by thu chni l g and S él s e tte M e te r P ier r e P atelin ano y , by a linck ; ( ny o Whims A fre d e M et Th e Ten or m us ) , by l d uss ; , by F ran k W ede ki n d ; Th e H onorabl e L over an d N igh t of

S n o rt r Th e a ull T ch k ff w e B o S e G e o . , by Rob o acc ; , by

1 9 1 6- 1 9 1 7

Th e S u ar H ous e A ce Bro n Th e M err D eath g , by li w ; y , ' b E v r ie n o f L over s L u ck b Geor e Po rto e S is y , y g s Rich ; ters o S uzan na b Ph M oe er Tr iﬂes S an f , y illip ll ; , by us

G a e A noth er Wa O u t ren e an n e l sp ll ; y , by Law c L g r ;

B u s hido b Tae z Al tr uis m K r E t n e r , y k da I umo ; , by a l tli g ; Th e L as t S traw Bo ort Cro e r A P r ivate A cco un t , by sw h ck ; , by Ge orge s Cou r telin e and Beatrice d e H olth oir ; Th e H er a o S an taM ar ia Ke et S e r G o a an d Be n f , by nn h awy o dm n

H e t Th e D eath o Tin tail es M e e r n Th e Life ch ; f g , by a t li ck ; o M an An d re eff Pl ots and Plawri h ts E ar f , by y ; y g , by dw d M a e S anar ell e M o ere Th e P oor F ool H e r ss y ; g , by li ; , by man n Ba h ts e M S e hr ; G os , by Ibs n , with ary haw as gu st artist .

40 LIT T LE T HEAT RES O F NEW YORK CIT Y

th e e e to see it , and brought it to att ntion of the g neral public . S uch were th e mode st beginnings o f the Portmanteau

T b e e e heatre , a theatre that has now ecom an stablish d

F th f e C fact . rom e time o its ﬁrst performanc at hrista dor H ouse th e Portmanteau became more and more in

e N ew C demand . It trav led about in York ity , giving

e N e set performance s here and ther . xt it was up in a regular theatre : and soon the demand for it spread so that it now has a circuit reaching from coast to coast . When this theatre goes on the road it doe s not send out

T h e e New a second company . original play rs and the

th e e York company go with it . It is only trav ling Little

T e e e th e e e e h atr in this country , and ev n on road it pr s rv s theatre ideals . i Th e spirit o f th e Portmanteau Th eatre is uncommer i l T ’ c a. his is proved by S tuart Walke r s Christmas gift

t h e C Ne H e set P e to ity of w York . up his ortmant au

T e M S e C 1 1 6 heatr in adison quar on hristmas night , 9 ,

ae T n i t e e o f h e S eve G s . and g v a fre performanc his play, f

H is h f h T he audience was t e homeless o t e city . park

e e th e o f th e - o f— e b nch s , seats out work and d spairing ,

e e Pe e w r drawn up to form an outdoor auditorium . opl h came early and waited for hours to see t e play . S now f T h re e e e . had allen . e S qua and its trees w r whit with it A n d this white background seemed to intensi fy th e deep

e h P e myst rious colors used in t e ortmanteau p rformance .

M r . Walker will do much in th e future ; but it will be diffi cult to equal the emotional quality o f his gift to the

th e e city and s ason . ’ W ALKER S PORT M ANT EAU T HEAT RE 4 1

P S implicity is th e keynote of the ortmanteau . It has

- T one sce ne setting which it uses throughout . his scene s etting is painted with diffe rent colored lights ; is . nade

New brighte r or darker as th e case may be . backgrounds

B e ar e e e f . ut add d to it , or subtract d rom it the sc ne — framework remains th e same. It is itself the Port manteau Theatre . This stationary interior scene o f th e Portmanteau is

f : e wrought in our colors black , blu , gold , and white H f though th e note o f white is used very sparingly . al

h e o f th e e e are if e we e way up t walls sc n black , as th y r

e . e e wainscot d in black It is a d ns black , with no sug

f A e are ee gestion o wood . bov this black the walls a d p — y et intense blue th e blue that is s een in th e skies o f

T e ﬂe ked M ax ﬁeld Parrish picture s . his blu is c with tiny — disks o f white and gold disks that look like a constella

W e e th e e o f f . tion aint stars h r blu joins the black , a narrow borde r o f gold and black joins the two colors

T h e e are e t togeth er . const llation disks just abov his borde r at th e right and l e ft walls o f th e scene and appear h again near t e borde r in background . D th T here are three entrances . oors at e extreme right

e f f e e e e e and l t acing each oth r , and mad xactly alik , hav

f e th e curtains o blu . In background is a wide square A e e . e arch , bord r d in gold and black bov it is a curious

f- r e e the f o f th e e looking hal ci cl d sign in our colors sc ne .

e e e e It is ast rn in its patt rn , and might com from Japan or India .

T th e his background arch is most important thing ,

e th e Portmanteaii T scenically sp aking , about heatre . 42 LITT LE T HEAT RES O F N EW YORK CIT Y

Be e e hind this archway glowing sc nes may be plac d , tropic

e M e r in th ir color . inar ts may soa against a vivid sky ; or storm clouds dri ft against the h eavens ; or curtains fall

ee e in sumptuous folds . Or poplar tr s may stand in grac

e e t e Th e M oon Lad . ful silhou tt , as h y do in y Th e s cene that is placed in this archway de ter mines th e wh ol e atmos here o whatever lais bein r od uced p f p y g p ,

th e Ne e N e e whether that play is laid in v r v r Land , in

F F r f th e M a th e M o . rance , in Japan , or in ountains oon

All e these are proj ected from this background scen . It

e e e e . dominat s the play . Its power sugg sts and cr at s It

e e th e e e e mak s the r st of stage into a palac , a t mpl , a

th e garden , or a street . It collaborates with imagination o f e the audienc . Nothing is used on the stage o f th e Portmanteau that

e - e is not n cessary to the forward action o f th e play . Inst ad

e H e e M . r . W e of ov rloading his stage , alk r strips it r lies

for ffe e e on line and color his e cts . Ind ed his stag is so small that any attempt at ornate furnishing would be

ffe o f e in the way . It is surprising what an e ct larg ness

e e e and myst ry can be giv n in so small a spac , and it is f e e o . due to his unencumber d stag , and his way using it

H is lighting , too , plays a prominent part in securing these e r sults . A ’ s o f the M r . W e to the personnel company , alk r s players are young professionals more inte rested in gain

e . M r ing a hearing than in rece iving inﬂated salari s . Walker looks forward to th e time when h e can charge

f e At e ﬁ ty c nts for every seat in his house . pr sent regu P T lar theatre prices prevail with th e ortmanteau . hat WALKER ’S PORT M ANT EAU T HEAT RE

But M r e . . W e is , fifty cents to two dollars a s at alker gav a s eries o f matinées for childre n asking only twenty - five and fi fty cents for the whole house . The first plays produced by th e Portmanteau Theatre in its ve ry early struggling days we re A Fan and Two

andles ticks M M acM illan Th e Trim l et C , by ary ; p , by

r W e S ix Wh o P ass Whil e th e L entils B oil M . alk r, and ,

M r W e e . e a whimsy, also by alk r , which has sinc b come h T M r . W e t e e celebrated . hen alk r added strange parabl

D e e Th e plays of Lord unsany to his r pertoir , staging

Gods o th e M ountain ee Th e Golden f , in thr short acts ;

D oom ( one - act) and King A rgimines and th e Unknown

- e e e e ex Warrior ( one act) . C rtainly th s wer not plays

M r e h e i . W pected to app al to t e av rage aud ence Yet . alker proved at once that there is a public for such dramas . H e invested th es e plays with simple yet curiously lovely

e e f e sc nic fects , and with costum s rich in color and sug

e e h gestion . Obviously thes costum s were dyed unde r t e

f h T r e e o t e e . e e ae e e e e e y dir ctor h r som xp nsiv mat rials , but in th e main they se em to be created from inexpensive

ff e e e ar . C e stu s anton ﬂann l , cotton cr p , and cambric made to look like fabrics brought from the myste rious E ast . B esides the D unsany plays M r . Walker give s Oscar

’ ‘ W de Bir thda o th e I n anta Lad o il s y f f , and his own y f the Wee in Will ow Tree ee - o f p g , a thr act play medi aeval W W e e e Japan , as charming as a illow ar plat com to li fe !

’ A e o f Gammer Gur ton e noth r his productions , s N e dl e, amed a E i eval nglish play, is in direct contrast to his 44 LITT LE T HEAT RES O F NEW YORK CIT Y

e has f and a e oth r plays , as it bluf he rty humor , and inv sti ff ture of blu and hearty colors .

’ Gordon Bottomly s Cr ier by N igh t is also given . Th e rest of th e repe rtoire consists o f brief inte rludes f h T h D t e . t e given be ore curtain hat is , after unsany

W e e e e play or the ilde play has b en acted , th r is a paus while costumes are changed and a n ew background slipped

’ h e P e into place be hind t ortmant au s blue and gold arch . Th e curtain is lowe re d and between th e shallow space that li es betwe en the curtain and th e footlights an inter

e h E z lud is given . Quite in t e li abe than manne r stage

e e e attendants bring in a chair , a tabl , a lamp , or what v r

h an h e . T e e d t e is ne ded actors enter from right or l ft ,

e T e f e e e play b gins . here are s veral o th se int rlud s

N ever thel ess Th e Ver N aked B o Th e F lame M an , y y, ,

Th e M edicine S h ow S W e Voices b , by tuart alk r , and , v

H e e F e ort ns l xner . Pe rhaps th e exotic needs the balance o f th e common

M r e T h . W place . hat can be t e only reason why alk r

’ Th D unsan s Gods e e e e . e chos th s int rludes spell of y , or

’ M e W Old Jaan e . e alker s p , is sudd nly broken od rn cloth s

T e e th e and modern chatter blot it out . h n again com s

e But th e e e strang and e xotic . mod rn play has brok n the e th e D atmosph re built up by ﬁrst unsany play , and it is more difﬁ cult to b ecome enthralle d by th e s econd ff o ering .

C e e e e e are e ontrast is doubtl ss d sirabl , but th r oth r

e if means by which it could be had . It would se m as the fantastic play might be a better foil than the mode rn

o P nu play . People g to the ortmanteau expecting the ’ T ART A KER S ORT M A TEA T EATRE S U W L P N U H .

’ A r n an Th e G ld n D bove asc en e rom Lo d D u s s o e oom . , f y

Be h T h r n ak d an d s et for a e r o rman c ow t e e at e c e e . l , u p p f

T HE PROVINCET OW N PLAYERS

LIKE the Washington S quare Players the Provincetown

P o f e e e layers are a group writ rs , ditors , costume d sign

who e e e e e ers , actors , and poets hav band d th ms lv s to

T e e e for th e gether to produce plays . h se play rs hav

e e most part their habitat in or n ar Washington S quar . There they spend the ir W inters ; their S ummers are spent

P M s e nd o f C e Cod at rovincetown , as , on the ap , and though the idea o f th e theatre may have come to them in Washington S quare it was on Cape Cod that it was

T 0 e e er put into practise . be sure , th r was a single p formance of one - act plays given on a ce rtain night in th e Winter of 1 9 1 6 in the back room o f th e Washington

S e But o f e e e quare bookstor . the ﬁrst series plays w r giv n quite simply on porches in Provincetown during the S u m mer 1 1 T e e of 9 5. hese w nt so well that an abandon d ﬁsh

e e hous that was on a wharf was taken , and mad into a th eatre It was scoured within and without . Fish nets and lobster pots were ousted : a stage was built

e 2 00 e e and an auditorium was arranged , s ating p opl at

T th e e nd o f 1 0 . a pinch and 5 comfortably hus , at a

f A e e the whar , with the tlantic beneath and b yond th m ,

P P T e e rovincetown layers began . h y had a larg num

e e th e e e ber of associat memb rs , and funds paid in by th s members gave a ﬁnancial basis on which the players could depend for their production .

46 T HE PROVI NCET OW N PLAYERS 4 7

W T e d a This harf heatr , admirably ecorated , and with

e splendid lighting system installed, serv d as a laboratory . Th e plays tried out there were later to be put on at the

P e P T e N ew - M ac rovinc town layers heatr in York, on

S ee W S dougal tr t , hard by ashington quare , and next door to what was once th e Washington S quare book

e e e T be stor , wh r so many Little heatres have had their ginnings . Th e due s of associate membership would not have been enough to e stablish a th eatre I n N ew York had not the Provincetown Playe rs bee n so fortunate as to gain

e o f th e S e S e the e the int rest tag oci ty, who took ntire

f r h house o t e opening night of each production . It will be remembered that it was the S tage S ociety that was responsible for bringing Granville Barker to this coun try ; and for giving Robert Jones a greater chance to show h t e public his extraordinary scenery . T ickets for the Provincetown Players are sold only to T h t e . members . hey cannot be purchased at door Th e Washington S quare Playe rs started with seats at ﬁfty cents ; S tuart Walke r proposes having s eats at that price in his N ew York playhouse ; but the Provincetown — Players have gone one better than this aseason ticke t

be for in can had four dollars , and that season ticket Th cl udes ten performance s . e purchaser of the season ticke t becomes an associate member of th e Provincetown

P An e e e . d e e lay rs th s m mbers , as has b en said , are the only ones who can purchase extra tickets for the per

f rman o ces .

T en performances for four dollars ! No wonder the 48 LIT T LE T HEAT RES O F NEW YORK CIT Y

An e ar e e e F house is ﬁlled ! d ther e no r s rved s ats . irst

e T e e are com , ﬁrst served . his holds good wh th r you a

f h f T r membe r o th e four hundred or t e our million . he e

r e Th e e e e ae 2 0 0 s eats and no mor . th atr its lf consists — o f two long high - ceilinged rooms made into one such

h e e o f N e o rooms as one sees in t e stat ly old hous s w Y rk .

e e e In the back room is the stag , a small stag curtain d in

Th e e e f — vivid purple . th atre its l is in brown brown walls

for th T e and ﬂoor and brown benches e audience . h se

r e e T e benches ae arranged in ti rs lik a grandstand . h re h T are two doors leading into t e theatre . hey are a vivid

A e th e e - e e f e green . bov prosc nium arch is a bas r li bord r f o z . Th bron y gold e purple curtain has a yellow borde r . — Everything about th e theatre is primitive primitive color and primitive accessorie s . Its strange bareness is attrae tive . Th e pe rformances of the Provincetown Players begin E at a quarter to nine and last till e le ven . ach program

f e f n — consists o thr e or our o e act plays . It is th e only Little The atre in America at th e pre sent

W e e writing that has both a int r and a S umm r home . It is the only Little Theatre in N ew York whose avowe d

’ rais on d etre is producing plays by living Am e rican — authors principally by New York authors ! It doe s not A P import th e works of foreigne rs . s rovincetown is e e A e e A e ss ntially an m rican plac , knit up with m rican

the o f history, tradition , and art , so purveyors plays to the e M S ee are A e theatr on acdougal tr t mostly m ricans . Th e Provincetown Playe rs diffe r from th e Washington S quare Players in many respects ; but in none more sig T H E PROVI NCET OW N PLAYERS 49

’ - Th e P Th e nally than in program making . laywrights

the P e P e e atre , as rovinc town lay rs call th ir tiny play “ e e e a e e hous , is ss ntially try out th atre , a f eder to

Th e t e e are a othe r theatres . plays h y produc as fr nkly

’ for sale as the pictures in an art store s gallery . T he fact that th e Provincetown Players give a new production eve ry three weeks and that th e people who act are also engaged in doing othe r work shows that the

e e e per formance s cannot approach p rf ction . Ind ed it must be con fessed that in this resp ect as well as in th e tech nique o f their plays the work of the Provincetown Play

At one e f e er s is e xtremely uneven . p r ormanc plays and acting will be exceedingly good ; while at the next p er ff T h formance they may su er a s eachange . hat t e p er formance s are as good as they are when they are put

e e o f e e th e tog th r so quickly is worthy comm nt , sinc all

f h th e work o t e theatre falls on S houlders of the players .

T e e e e e e h y mak and paint th ir own sc n ry, using th ir small stage as a workshop ; th e costumes are not only designe d

e e e e e e e by th ms lv s , but lit rally cr at d by th ir own work

T are e h . e t e e manship h y dyed , cut , and s wn by feminin

ff th r members of the sta . In some case s e costumes p e pared at th e Wharf T heatre in th e S ummer are used

’ a th e P T e e the in e r gain in laywrights h atr in W t . Othe r wise it would be almost impossible for the players to

ee th e e e Th k p up with e d mands on th ir tim . e proper

e are - Th ti s likewis e hand made . e lighting experiments used in conne ction with th e various scenes are manage d

e e o f h P An by m mb rs t e layers . d th ese economi es are what mak e it feasible to run this Little Theatre on a 50 LIT T LE T H EAT RES O F NEW YORK CIT Y sum that a commercial manage r would not beli eve pos sible . The re have been mistake s in program arrange ment such as was made one e vening when all three o f th e

e Bu plays pre s nted we re gloomy in theme and outlook . t

e e e are few far e e th e e th s mistak s and b twe n , and v ry surprise s offe red by th e Province town Playe rs are tonic

’ I f e e f n and intriguing . a curr nt w ek s pe r ormanc e is ot up to th e mark three weeks h ence th e program may prove

A n h astonishingly rewarding . d as t e Washington S quare Players have grown in stage cra ftsmanship from mou th h P P T e t e e e . e to month , so also hav rovinc town lay rs h ir

e f theatre is a th atre o surprises . It may on occasion be lacking in technical proﬁciency ; but it is never lacking in

e inter st . The plays produced by the Provincetown Players are

e are e e e e . thos , as a rule , that writt n by th ir own m mb rs I f an outside playwright wishes to have a play produce d

e e e he must submit his manuscript to an activ m mb r , who

h z ee th e in turn submits it to t e organi ation . Once a w k T Provincetown Playe rs gath e r to read plays aloud . hree

are e e th e e e e . plays read in an v ning , and ﬁnal s l ction mad

D uring th e S umme r of 1 9 1 6 e leven original one - act plays we re given th eir ﬁrst production at th e Whar f Th e

T e th e atre . o these w ere added two plays produc d pre

T h e e e e ee vions S ummer . e b st of th s plays hav b n trans planted to th e New York Playhouse of the organization .

D uring the Winter 1 9 1 6- 1 9 1 7 thirty one - act plays by A merican authors we re given . It is worthy of note that the most expensive produc T HE PROVI NCET OW N PLAYERS 5 1

h f T e e e ih tion o f t e Whar h atr cost only thirt en dollars , cluding sce ne ry and costumes .

’ In the Playwrights Theatre on M acdougal S treet each play iS ' staged unde r th e direction o f its author : th e the

e atre is e ssentially a place for dramatic experim nt . Th e prospectus o fth e P rovincetown Playe rs announces that with the exception o f two salari ed ofﬁcers who d e vote their entire time to th e work th e members give their A plays and their s e rvice s without re compense . pparently th e playe rs have divided themselves into two groups . Whil e one group o f ten or twelve people are acting in

th e e e e a play oth r group is r h arsing . — A s to th e content o f th es e plays th e result is at once

e e H e e A int r sting and disturbing . r are plays by merican author s ; yet how few o f them are distinctly American

e e o f th e o f in local or in th me ; that is , most plays the

P e P e e P rovinc town lay rs might be laid anywhe r . erhap s this points to th e fact that Ame rica is all countrie s com

in d e h h b e . It c rtainly points to t e fact that t e playwrights

’ o fth e P T e e f r f r laywrights h atr go aaﬁeld o the ir theme s . T he question arises as to wheth e r the time devoted to th e Ame rican play had not been bette r sp ent in producing th e

e e e o f e f r e T e mast rpi c som o ign author . his qu stion must ,

be e e I f th e A Irishly , answ r d by another . merican author o f on e - act plays doe s not get a chance to e xpe riment in an Ame rican the atre whe r e e lse can h e hope to ﬁnd a laborator y for developing his t echnique ! Everything ” with th e trade - mark M ade in Europe ﬁnds readie r

e e e - acc ptanc than a hom grown play . Granted that th e

American one - act play is very o ften not as good as its 52 LITT LE T HEAT RES O F N EW YORK CIT Y

e e e e e e for ign cont mporary , how will it v r improv unl ss its author is given a chance to try his powe rs ! It may be said that no theatre can be wholly an Ameri can theatre which produces mostly th e works o f its own T B h f th P e e e . u t e e e cot ri . his is tru t v ry act that rov incetown Players give pre fe rence to th e American — author albeit th e author in question is apt to be a mem — ber of their own group is a long step in th e right direc

T e tion . hey have alre ady in the ir ranks s ev ral play

e e D P wrights of signal pow r , among th m avid inski , whose plays have b ee n produced by Reinhardt ; S usan

G e e lasp ll , well known as both nov list and playwright ;

’ E e O N eill th e e e e and ugen , son of v t ran actor , Jam s

’ ’ il E e l e O Ne l . ugene O N i l is original in his th mes and

H i n - B ou e e . s o e nd in his tr atment of th m act play, “ E as t or Cardi e - e f ﬂ, with its unusual scen s tting , showing th e interior of tramp steame r with bunks ranged in tiers

th e th e against the wall , remains one of best things

P P T e rovincetown layers have done . his play has be n sold to the Greenwich Village Players . It has also had production in several othe r Little T heatres throughout

’ ’ th e r N ill B e Th . e s e or country . e stark realism of M O f

B reak as t one e e - f , with its charact r a pov rty stricken nag ging woman , talking to her husband , who is supposed to

off zz e be shaving himself stage , was a gri ly and impr s

o f e th e e o f th e sive bit r alism , ending with suicid hus T . ine the ee . Coca band his play has also b n sold , study

e P e K e of a drug ﬁ nd , by endl ton ing , was pow rful though

e e e S u ress ed D es ires S G r pulsiv ; whil pp , by usan laspell

Ge C C the and orge ram ook , was the comedy success of

T HE NEIGHBORHOOD PLAYHOUSE

T H E Neighborhood Playhouse was founded in 1 9 1 5 A by lice and Irene Le wisohn . It is outwardly and inwardly one o f th e most satis fying Little Th eatre s

e G S ee . e in this country . It is situat d on rand tr t It s ats

1 1 e e e e e th e 4 p opl , and is , as its nam impli s , devot d to

T e e H interests of its ne ighborhood . his th atr and the ull House Theatre in Chicago repre sent th e Little Theatre

e T e movement in its sociological asp ct . his do s not mean ” that th ey are full of uplift or dry - as - dust drama ! Far from it ! But it does mean that th ey continually place th e be st in mode rn drama be fore their public at

F f e e e th e a nominal sum . i ty c nts will purchas a s at in orche stra row or th e low - swung balcony of th e N eigh

orh P b ood layhouse . It is well known that this th eatre is content to lose rathe r than to make mon ey if only its artistic and al tru i i nd f : F st c e be e . e gain d Its purpos is two old irst , to

‘ set be fore th e p eople of its thronging te nement district plays they could not othe rwis e hop e to s ee ; and also to a fford th e young people o f th e ne ighborhood a chance to

fe e e stimu act in plays and stivals , to giv th m imaginative lus and emotional outl et a fte r days sp ent in store and

f and T o th e e o f of ice factory . childr n the neighborhood it means a place wh ere th ey can dance and sing in com

e munity festivals , and to the fathers and mothers a plac

54 T HE NEIG HBORHOOD PLAYH OUSE

e e e e o f R where they can witn ss wond rs undr am d in ussia ,

P e 3 e for P G . ee oland , alicia It is ind d a layhous , plac recreation and neighborhood delight . Associated with th e M iss es Lewisohn on the produc

ff are M A e M M ing sta iss gn s organ , a playwright , and iss

H e e A t for e e e e l n r hurs , s v ral y ars play r ader at the

e A nd e o f f th e e S hub rts . from the y ar its ounding to y ar

h M rs C o f er e e e . S d ath an accomplish d actr ss , arah owell

e e e e e e e . L moyn , was activ ly conn ct d with this th atr

Th e Ne P e the e e o f ighborhood layhous is , with xc ption

’ M r A e e T e e th e e e e e e . m s Littl h atr , b st quipp d th atr , f e o . larg or small , which this country can boast It has

‘ provided superlative com forts for the actors in its won d r f ll And e e u y equipped dressing rooms . it ven betters

’ r A e T e e M . m s Little h atre in its stage quipment in that ” th e z — it has only hori ont in this country, that is , a concave wall o fwhite plast er at th e back of the stage that is ﬂooded with varying lights and can thus give superb

ffe A ffe e sky e cts . particularly ﬁne e ct was giv n in the

’ ’ ﬁrst act of Bernard S haw s Captain B ras s bound s Con

’ vers ion e Ge e K (act d by rtrud ingston s company) , where th e sunset melted impe rceptibly from rose to lavender

f e e and rom lavend r to a blue twilight impearl d with mist . Th e history o f the Neighborhood Playhous e is as full of human interest as th e work done within its four Th P walls . e layhouse grew out o f work done by th e dramatic clubs at the H enry S treet S ettlement under the

th e M e T o direction of isses L wisohn . these clubs belong th e e of e young p ople the n ighborhood who , being Jewish ,

th e ﬁ re th had racially , the intellectual hunger, and e 56 LITT LE T HEAT RES O F NEW YORK CITY powe r o f sel f- expression that makes for a plastic and

Th e S e e e competent dramatic company . ettl m nt stag and auditorium became too small for th e numbe r o f working people wh o wished to participate as playe rs and audi e o e e C H a nce . S further productions w r given in linton ll B on the owery . There were from th e ﬁrst two types of productions

th e e the play of ideas and th e festival play . In f stival

e e e e plays old and immemorially lov ly stori s w r used ,

H iawatha S l ee in B eau t es , or the p g y , with opportuniti for f . o e e dances and group effects . In the plays id as s rious

e F e e mod rn authors had the ir say . rom the v ry b ginning the policy o f meeting both the s e nee ds has always oh tained H e S ee S e e , ﬁrst in the nry tr t ttlement ; th n in Clinton H all ; and latterly in th e N eighborhood Play

e And e e e e e hous . th re has always be en an ag r audi nc for both .

Th e C H Th e S he h erd ﬁrst play in linton all was p , a

e T D drama in blank verse , by Oliv ilford argan , and the

’ e G s Th S ilver B ox s cond , alsworthy e .

e Ne P e Lat r the ighborhood layhous was built , and the E work of th e N eighborhood Playe rs continued . ach

e e e month they giv a series of special p rformanc s , usually

on e - But N e P of act plays . the ighborhood layers are not th e O h P nly one s who act at t e Neighborhood layhouse . Its hospitable policy includes the work o f both amateurs

f e —f — and pro essionals . Gu st artists amous stars come there for a s eries of performance s with their respective

e E e T e Ge e K E e B compani s . ll n rry , rtrud ingston , th l arry

E H Re e D B more , manuel and edwig ich r, avid ispham , T NEI B R O AY GRA S TREET NE Y R H E O O O S E W O K . GH H D PL H U , ND ,

T HE NEIG HBORHOOD PLAYHOUSE 57

and the late Eric Blind have acted to packed houses . F or these pe rformances there has been no change in the

f At e f price o seats . c rtain seasons a locally amous Yid

are dish company gives Yiddish plays , which the joy of the olde r immigrants in the neighborhood who speak no

E e a to i r nglish , as w ll as joy mmig ants lately landed ,

e and similarly handicapp d .

The r e is ne ver atime wh en the the atre is idle . On Sunday a fte rnoons there are movies for ﬁve and ten N cents to which whole familie s come ﬂocking . eedless are of e to say these movies a high ord r, an antidote to

the blood - and - thunder cinemas that ﬂaunt their luridly melodramatic posters the length and bre adth o f the East

S e T are e e e id . here also folk danc s , r adings , and orch s

The N P tral concerts . eighborhood layhouse is a home o f f art in many orms .

N l f e its atura ly, a t r its ﬁrst performances , fame spread . People from uptown showed as keen an interest in its

ff the e G S o erings as did peopl from rand treet , with the result that the Neighborhood o f the Neighborhood

Plah ouse has e e o f N ew y . wid ned to includ all York that

looks upon drama as something better than a mere stop~

e gap for the hours betwe n eight and eleven . S ome of th e festivals produced at the Neighborhood Playhouse have been Th e Kairu ofKoridwen ; th e ballet P etr ous hka h a c , wit music by S tr vinsky, and onfetti ’ e e Je h thas D au h ter re- color d costum s ; and p g , a telling of the T e e e r Old stam nt story through spok n wo d , dance , and

’ The for e h t a D au h t chorus . music J p h s g er was taken

m e e e e fro anci nt J wish c r monials , and traditional chants . 58 LITT LE T HEAT RES O F NEW YORK CIT Y

e e fee Indeed this whol f stival , with its lyric ling , its won d er ful T Old estament decorations , and its plastic group

one o f th e e e e e e e set e f e ing , was ﬁn st achi v m nts v r b or

N e F or n th P e e . o e e ighborhood layhouse audi nc s thing ,

N e ighborhood Players looked the parts they we re taking . They we re acting a moving story from th eir own im

e perishable history, and they lent to that acting ard ncy and truth .

Amongst the many one - act plays produced by th e

N e P e e A M arriae P r o os al ighborhood layers hav be n g p ,

A T chekoff The P rice o oal H B i by nton ; fC , by arold r g

T M rs H e e h e S u b ection o Keziah . hous ; j f , by av lock ’ E Black E ll M e M aleson Th e Glitterin Gate llis ; , by yl s ; g ,

D A S u nn M or nin e f by Lord unsany ; y g , translat d rom Quintero by AnnaS prague M acD onal d ; With th e Cur t h A r en S c ol om . , by sch T hey seldom produced plays by Americans ; and

far e e e e never, so as can be ascertain d , plays int rpr tativ

Of the locality of th e city in which th e Playhouse stands . Th e most notable o f all their achievements in th e pro d ucing of one - act plays was the almost startling succes s “ e A N i h t at an won through that tremendous triﬂ , g

I nn D The Ne P e , by Lord unsany . ighborhood lay rs gave th e o f e e ﬁrst production this play, t rm d by many critics the greatest one - act play written by any author in th e

ten e Th e e e f last y ars . story of the robb d and reveng ul Eastern god seeking his thieving victims whe n they had take n refuge in a lonely house s et in a still lone lier E nglish moor, and implacably drawing them to their

e . death , was portray d with imaginative power

60 TT E T HEA LI L T RES O E NEW YORK CITY.

a a musl C Th e Goos e- Girl with tradition l Indi n ; , with music H e r n Th e Gift o the F airies Th e Jewel ox by ump di ck ; f ; B , t D e Th e Kairu o Koridwen wi h music by bussy ; f , with T ff e . music by Charles . Gri s

Th e S he h erd e T fo D Th e S ilver B ox p , by Oliv il rd argan ; , G s Th e Waldie H e s C . e T th by John al worthy , by J . aml n ered S h ee e t G e r W e Wild Birds p, by Rob r ilb t lsh ; , by V et Pearn Women kind W f e W o G R iol ; , by il r d ils n ibson ; y land Ke e S a e r Go a T o a ~W , by nn th wy odm n and h m s ood S e e Th e P rice o Coal Har B e Th e t v ns ; f , by old righous ; M aker o D r eams n D A M ar riae P r o f , by Olipha t own ; g

' osal A on T ch ekoff Th e S u b ection o Kezia p , by nt ; j f , by Hae Th litt rin G te n M rs . o E e G e a D u v l ck llis ; g , by Lord a A N i ht at an I n n r D a Gh os ts s ny ; g , by Lo d uns ny ; , by H e e L ones ome Like H r B e R ed nrik Ibs n ; , by a old righous ; ’ Tu rf e f r M e Catain B ras s boun d s on , by Ruth r o d ayn ; p C version Be a S w Joh n Gabr iel B or kman I b , by rn rd ha ; , by s en Th e S had ow Ri ccodenci E arl M ornin After ; , by ; y g, i i o h n B u rial S s ters a Pe rez The F res S t. Jo , and , by Is ac ; f , H e r an S e a Thr ee Generations metta by m ud rm n ; , by Ro

‘ Ronano An E n e m o th e P e o l e b e Gr eat Cath ; y f p , y Ibs n ; ’ erin e Be a S a Th e ueen s E nemies , by rn rd h w ; Q , by Lord D Th e I ncao P erus al em an a a r unsany f , by nonymous utho ; i k ’ l Th e M arr ed Woman C . B . F e a Blac El , by rn ld ; , by

' M e M al eson A S unn M ornin uintero Pi a il s ; y g, by Q ; pp i

Pas s es e B . , by Rob rt rowning CHAPTER III

T H E LITTLE THEATRES O F N EW YO RK C ITY (Con tin u ed )

T HE EAST - W EST - PLAYERS

T H E East - W e st - Playe rs are an interesting group of young people who have not yet arrived at having aLittle T heatre ; but they are working toward it and in the meanwhile renting any theatre that they can lay their hands on for special p er formances until asmall theatre

be e can found , or until som one interested in what they have to offer helps th em to the ir goal .

T e his company of players , mainly J wish , gave their ﬁrst production in N ew York in th e early S pring of

1 1 T dil nt T 6. e 9 hey are not ta s . hey are a group drawn f T directly rom the wo rking people . eachers in primary

e e e e e and grad schools , d signers , st nograph rs , work rs in th e various trades , clerks , and artisans are among their

T th e e e numbers . heir work in th atr and for the theatre

’ F or must be done after their day s work is ﬁnished . this reason they are one o f the most signiﬁcant of th e many

o f e T groups players in N w York City . heir work is a h e t e . movement of the people, by the p ople, for people They have raised the money for their productions by having each member o f their organization contribute to

61 62 LITT LE T HEAT RES O F NEW YORK CITY!

e f T e f- acriﬁ the g neral und . his has m ant actual sel s ce for h h art . T e money gained throug their productions is to be placed in a theatre - fund for th e future Little Theatre which they hope to have .

A o f e are group work rs who also players is not a. n ew Th b P New . e Ne thing, even in York igh orhood lay hous e has a group of players who are e mployed during th e eae e e as day, but their th tr is provid d and th ir pl y

e e e e s l ct d for them . It is not th ir own money that make s th e Th e eao f aNe production possibl e . id ighborhood

P e th e layhouse came from without , and work d back to

Th e i e e o f awas working people . cultural nﬂu nc dram

f r A e e e e e f e provided o the m . dvantag s w r plac d b or

e e e e e e e th m , and it was th ir privil g to avail th ms lv s of

e th m .

- - With the East West Players it is quite different . With

e h f T e th m t e impulse com es rom within . h y are not

e T e e e own bl ssed with atheatre . h y must should r th ir

e e e e . r sponsibiliti s , and volv their own policy It is highly to the ir cre dit that they have done all the se things so

T e is a e e e o f e well . heir theatr d ﬁnit xpression th ir own

T eae thought , and a new contribution to Little h tr s in

T e are e f h general . h y in am asure to the literature o t e Yiddish stage what th e Irish Players are to th e litera

e o f h But tur t e Irish stage . they have no Yeats or

G e e T e are e Lady r gory to l ad them . h y fundam ntally

f- sel led .

The f — policy o this group is exp rmgs ed in its name the

E - W - P Th e e ar n E — ast est layers . J ws e a astern p eople to bring the unknown plays of the East to the p eople of T HE EAST - W EST - PLAYERS 63

B the W e st is what these players are striving to do . y accomplishing this they open doors on a li fe and litera

e set are wh oll v tur , on a of customs and traditions that

h - T e th e unknown to t e W e stern th eatre goer . h rein lies

’ o f the E s - W e - P value a t st layers work , its stimulation

e e P e e un ro and int r st . lays that would oth rwis go p duced or unheard of are brought to light by their efforts . They b egan th e ir work in th e Educational Alliance

E B th e e auditorium on ast roadway, centermost plac o f th e e e o f th e E e int ll ctual life ast S id . In this vicinity

e ar e Yiddish pap rs e publish d and Yiddish books sold . H e re poets o f the sweatshop have sung their sad songs

f H e e are be th e o labor and longing . r to found black f and white postcards , by Lillien , depicting Jewish li e

R a A e ﬁ re in ussi and m rica , touching it with and poetry — picture s as extraordinary in their poster e ffects as th e

o f A e B e et ff work ubr y eardsl y, y totally di erent , and T absolutely original . his was the locale in which the

E - W e - P e e e ast st lay rs start d , a local in which many of E B them live . ast roadway is to them what Washington h S quare is to t e W ashington S quare Playe rs .

T e e o f f one - h ir ﬁrst program consist d our act plays , f h H d e t e . e an S h e translat d rom Yiddish , by Isaac L .

Pe ez Coll eau es Z th e r ; and g , by almon Libin , most com me rciall o f Ni h t y popular all Yiddish playwrights ; g , by 1 S A Th e S tran er P ez Hirsh in be . holom sch ; and g , by er

1 Th e East- W e st- Players we re th e ﬁ r st to bring th e work o f Asch to th e Am er can ub c th ou h R e nhardt ha r i p li , g i d al eady p ro n f i a n B r n duced o e o h s p l y s i e li . TT E T HEAT ES O F NEW K C T . 64. LI L R YOR I Y

e e e th e e o f e e Gr atly ncourag d by succ ss th s plays , which

e e e e e e th e E - W e - P e w re r p at d a numb r of tim s , ast st lay rs

e U e e the Be e e e rent d a little ptown th atr , rk l y Lyc um , whe re they gave furthe r consecutive p er formance s of the

n Th e Yell o same program with but o e change in it . w

f r H nd h E Pas spor t was substituted o e a S e . arly in 1 9 1 7 th e Garden Theatre was taken for a few perform T f ances e . e o , and a third program produc d his consist d

Th e S tran er P aul and Vir inia e R g , g , by Jam s orty ;

i h t Th e Awakenin o N ar radin A N g ; and g f , an rabian ’ N G B e o f the ight s fantasy , by ustav lum , the dir ctor

z E e Th e organi ation , and lias Lieb rman , translator of

t n S rag er . Th e S trang er and Night are the best offerings of this

f T r r th e ar . h e S t an e group so In g , a fantastic play ,

e R S scen is laid in ussia , on a abbath night , and the story — is wrought around an old J ewish obse rvance that of leaving vacant a chair at th e table so that i f Elijah th e

Proph et were passing h e might come in and break bread .

T h e e th e e Chaim D vil his do s , in hous of y avid , a poor Th f . e e e O lager atmosph r this play, with its mysticism

e e e e e Ni h t th e and sacr d b li fs , was spl ndidly sustain d . g ,

e S A all gorical play , by holom sch , was equal to the best

And re e ff e of y in its dark color , its pow r of stripping the

o f m n I f souls e . the othe r Yiddish plays produce d by this organi z ation do not as yet e qual Th e S tr ang er or — Night it is scarcely to be expected that the y should for N igh t and Th e S tr ang er would be rare ﬁnds in any litera

e . Pau l and Vir inia e ff o f the tur g , a mod rn o ering oeci

e e Th e Awakenin d ntal world , was commonplac ; g ofNar — - T HE EAST W EST PLAYERS 65

M radin was excellent in color . usic was written for it by a membe r o f th e organi zation ; its costumes designed T by still anoth er membe r . his was a good production ; but it was not as compelling in intere st as the Yiddish

e plays becaus it was familiar, and because any other group

e of players might have given it . It lack d the stamp of race .

Twenty- ﬁve cents to one dollar was the democratic price of seats for this venture .

Th e East - W e st - Players have now announced that they will continue to follow the ir original intention of giving

All e Yiddish plays only . th ir plans cannot be divulged in advance ; but undoubtedly th e plays of D avid Pinski

e e —P e will hav a plac on their programs inski , whos Tr eas u re was produced by M ax Reinhardt in Berlin in

1 9 1 0 ; who is the author o f a well - known pamphlet D os Yiddis he D rama; who has written many plays deal ing with the hope s and struggle s of the Jewish prole

H e e - tariat . has also written a s ries of poetic one act

th e e K D plays dealing with lif of ing avid , all of which

may in time form grist for the mill of the East - We st

T e e e Playe rs . h r ar oth er plays by Pe rez H ershbein that

‘ — will doubtless be produced plays of a darker color and

e e e The S tran er S A mor tragic t xtur than g , holom sch ,

the e e o f e r - gr at st all Yiddish dramatists , will b e intro

duced e e not alon as a mystic , but as a cr ator of genre

- e . The o f S A he studi s one act plays holom leichem , t

M T e Yiddish ark wain , may also ﬁnd th ir place in East

e W st programs . In producing translations of Yiddish plays th e East 66 LIT T LE T HEAT RES O F NEW YORK CIT Y

W e st - Playe rs give something that can be found in no f e e . e e oth r plac in this country It is di ﬁcult , th ir dir ctor

et e o f e e e Th e says , to g nough th s plays , sinc the Yiddish

e e Yet atre has only b een in exist nc since 1 876. in no othe r way can th e East - W est - Playe rs make as distinct

T e e f e a contribution . h ir translators should s arch urth r

e e e f e through Yiddish lit ratur , through folk tal and abl , and then set contemporary playwrights to work on what

Th e e th e E m n f e e . S e e o th y hav found po ts of ast id , th e R e e f e stamp of os nfeld , whos songs ound cho in a

e e e million hearts , might lend th ir cr ativ ability to this

th e ffi e o f th e e moveme nt . In o c s J wish press might be found some young dramatist who could put th e Yiddish

' e e f e folk lor into simpl dramatic form , if that olk lor were

e e e found for him . Immigration is anoth r th m that the

E - e - P The e ast W st layers have not dealt with . com dy side of immigration has been shown in our theatre s ;

ee e th e th e e - e but its d per sid , tragedy of middl ag d in th e N ew W e e e n ew orld , trying to accustom th ms lv s to

e Th e e e conditions , is untouch d . moth r who cannot sp ak English and who feels he r childre n growing away from her is an endlessly pathetic ﬁgure that would make a strong appeal .

Nor need the work of the East - W e st - Playe rs be con

e th e Th e T e e ﬁn d to mode rn world . Old stam nt is rich in e the on o l und veloped dramatic material . If S g fS o o mon has been made into an arre stingly lovely pantomime

e T e B by a dramatist in the Littl heatr of altimore , why are there not a hundre d Biblical themes from which the

East - West - Players can choose their material ! Nor is

BROOKLYN REPERT ORY T HEAT RE

NOT actually a Little Theatre movement in the exact

e sens of the word , yet undoubtedly stemming from it is the work done by the Brooklyn Repertory T heatre

C o f o f ompany, a group professionals good standing who , with very simple scenery, costumes , and accessories ,

’ have given satisfactory performances in the auditorium

th e B M A T e e e of rooklyn Y . . C . . heir r p rtoir is made

- e . up of modern plays , non commercial in th ir appeal T hese players have made it possible for Brooklynites to see much that is inte resting in drama without journey

Th e e o f ad ing to M anhattan for that privilege . pric mittance has b een kept within th e limits of slender pocket

S th e e books . ome of plays given by this company hav

: Th e Bank A ccount H B A ues been , by oward rook ; Q tion o M oralit Pe W e S wee th earts f y, by rcival ild ; , by

’ D E to S . b aotae s c W . G S b il ert ; g , by Valcross and ; and

S Z araueta. the panish drama , g T HE NEGRO PLAYERS

he e T e e e d new HAD not t Littl h atr mov ment fostere the , the th e o f e original , unusual things drama it is v ry pos sibl e N ew York ne ve r would have seen the N egro Play

e e . ers , and a stimulating controv rsy would hav been lost

’ F r N e P e e e o the gro lay rs , during th ir ﬁrst w ek s per formances at th e Garden Theatre and later in an uptown

e e e eu th atre, wer a storm cent r for critics and drama th u iasts e e the s , and such storms mak peopl think about theatre in terms more creative and constructive than is their wont .

h P e th M T e N egro lay rs under e management of rs . Emilie Hapgood and the direction of Robert Edmond

Jones appeared in three one - act plays written about the ir T A Th e R e e e . e own rac by idgely orr nc , the merican po t

e e e e e e e The str ngth , b auty, and impr ssiv n ss of th s plays ,

Rider o D r eams S imon th e C r enian Grann f , y , and y

M aumee e e e e . , w r b yond qu stion It was th e ﬁrst time that N egroes had ever appeare d f T in plays interpretative o th eir own race . his was a

n But e ee e sig iﬁcant fact . it would hav b n mor signiﬁcant had th e plays be en writte n by an author o f their own

e th e e e th e rac , and had d sir to act in plays been a racial de sire expressed from within instead o f imposed from T o w without . hen the wh le production ould have had 69 70 LITT LE T HEAT RES O F NEW YORK C IT Y

A e e e . s deep racial xpr ssiv ness it was, it was interesting

e as an exp riment .

e e Ne T e N egroes have act d befor in w York . h y gave a S hakespeare T ercentenary performance o f O thell o wholly on their own initiative ; but th e appearanc e o f a Ne gro company in plays of Negro life was something

h O n e New e e new und er t e sun . York critic d clar d that the ﬁne ﬂavor of th e plays was lost through th e amateur ish ne ss th e e e of acting , and that though the play rs look d th e e e e e parts th y imp rsonat d , th y did not sound their

e th e depths . Other critics prais d acting for its natural

o th e ness and pictorial qualitie s . S war waged !

Between th e one - act plays the Cle ft Club S inging

e T e Orchestra gave genuine d light . h y played th e music

N e e R e of a gro compos r , osamond Johnson , whos songs

e and marches hav given pleasure to thousands . T HE M ORNI NGSID E PLAYERS

T H E M orningside Players we re e stablished in th e Fall

f 1 1 T e are o f f o 9 6. h y a group pro essionals and ama fe o f e f th e o fC urs , many whom com rom vicinity olumbia

T e T e e e University . he y are not a Littl h atr group ; y t have undoubtedly been more or less inﬂuenced by th e

T e T e e Little h atre movement . h y produc long plays and

- f one act plays written by members o their own group . Sporadic performances of the se plays have been given

f M S o far e e in various theatre s o anhattan . th y hav struck no particularly signiﬁcant note either in dram atu r e e The o f gy, scen ry, or costum s . most ambitious

e ffe T h e I r on Cr oss E Reiz en stein th ir o rings , , by lmer ,

O n Tr ial e author of , was a play prot sting against the f f e e e e o . horrors o war . It was not a m morabl pi c work

T e e e e o f th e M e P h r is talk , how v r , making orningsid lay ers W T e e e into a regular orkshop h atr group , activ ly connected with th e classes of drama and playwriting in

C —in o f th e olumbia University , other words , making M orningside Players into a genuine Columbia University

T e e th e f h atr group , in which players shall be chosen rom Columbia and Barnard th e scene ry and costumes designed

C B e e by olumbia and arnard stud nts ; and last , but not l ast , th e plays written by th e students in th e classes o f play f . S e o writing hould such a chang take place , work genu

71 72 LITT LE T HEAT RES O F NEW YORK CIT Y ine signiﬁcance may be looked for, since such eminent authorities as Brander M atthews and Clayton H amilton are a f th e e th e e on the dram sta f of Univ rsity, latt r hav ing a class o f would - be playwrights seldom numbering

1 0 less than 5 . T HE G REENW ICH VILLAGE T HEAT RE

H e rman Le e M eae r A rch tect. d , i

T HE R EE W I C VI AGE E AT RE N Ew YO R K ITY G N H LL TH , C

’ A M O N G th e n ewest o f n ew Little Th eatre s planned for New th e G ee e T e e be York is r nwich Villag h atr , to

M r F C e th e . W run by rank onroy, a graduat of ashing P ton S quare layers . F or a theatre which purpos es giving unusual non commercial plays no playhouse in N ew York will be bet ter e th e G ee e T e e e situat d than r nwich Villag h atr , tuck d away in a quaint part o f th e city known as S h eridan

R B e e S quare . ichard rinsl y himself would hav delighted

73 74 LITT LE T HEAT RES O F NEW YORK CITY

in the Pomander Walk two - story house s of cream and green and pinkish red that face th e theatre and that

are whimsically reminiscent o f th e days when Green

e e th e e wich Village r ally was a villag , and when thr e — cornered grass plot in front o f them almost as big as

e e f— h T a lac handkerchi really was t e village square . his

e o f New ﬂaor some e e odd corn r York , v and un xp cted , is such an admirable setting to th e theatre that it will do

All e much toward giving it vogu e . about liv artists and — painters and actors some of th e already famous ;

th e others on way toward b eing so . The exte rior of th e theatre will express th e ne ighbor hood traditions by recalling architecturally th e period of

e Th e f e o f th e arly colonial work in New York . acad

e be r ed e e th atre will of brick , whit ston , and wrought

Th n o f iron . e Gre enwich Village Theatre will be like o e

th e f e e Th e o e . old homes this quart r , digniﬁ d and stat ly

e e . main auditorium will be colonial . It will hav no box s

T h T h e he re will be a narrow balcony across t e rear .

f e e our walls and their diagonal corn rs will be symm trical , de signed to give th e e ffect o f a large room in a private

The mansion rathe r than a place o f public amusement .

are be e e walls to in ivory white with old blu drap ry, and

e e Th e th re are crystal chandeli rs . lobby and lounge will be D e th e e th e in utch til ; lounge , unlik usual smoking

e ee e room , will not xclude women . Ind d it is both loung

e e and art gallery, for its walls will be d corat d with pic ture s painted by members o fthe Art Colony o f Greenwich

A s e e Village . soon as one xhibition ends anoth r will

e begin . It has been the aim of the theatr management to

76 LITT LE T HEAT RES O F NEW YORK CIT Y

P this country will be given . articular attention is being — paid to younge r American playwrights this ﬁeld is full of promise and already some interesting discoveri e s

e hav been made . Occasionally a classical play will be revived . NEW YORK’S AM AT EUR COM EDY CLUB

w ILE th e A C C . N e W H mateur omedy lub , Inc , of York , f e 1 88 e e e e Th e ound d 5, is not dir ctly inﬂu nc d by Littl atre s e e e e o f is , and do s not poss ss a th atr its own , it interesting from th e point o f vie w o f amateur dramatic work because o f th e record o f its productions which are

r e e for th give n in various theat e s r nt d e occasion . It has

e P e e e giv n six plays by in ro , which is mor than any oth r organiz ation in this country has done with th e work o f

T e e e e Th this particular author . h s plays hav includ d e

Laven d e Th e M ais tr ae e Amaz ons S weet r t tc . , , g , Amongst its othe r p r oductions have b ee n You N ever Can

Tell H ow H e Lied to H er H us ban d S a , and , by h w ;

Th e S ch ool or S can dal Th e Critic S e a f and , by h rid n ;

L ond on A ss uran ce B S weeth ear ts E n aed , by oucicault ; , g g , h etc . . e T M is e o d r G . e at r o o bar ow W S . W , by ilb rt f , by

e K P an t l oon ir e B e . e a S J rom J rome ; , by Jam s arrie ;

One o O ur Gir ls B H H eld b th e f , by ronson oward ; y

E nem All th e Com or ts o aH ome W y, and f f , by illiam

G e e T e e e ill tt . hes productions re p at d plays that had already been made familiar on th e pro fessional stage ; but in th e last few years a genuinely creative rather than an imitative policy has bee n adopted by the Comedy C lub . They gave th e first production in America of ’ D unsan s Th e Gods o the M ountain e e e e y f , r nd r d m mo rable alike by its fine insce nati on an d its fi n e acti n g ; a

77 78 LITT LE T HEAT RES O F NEW YORK CIT Y

’ ﬁrst performance o f Austin S trong s impressive D rums

’ o Oudh an d C n M ff Greater Than th e f , of levela d o at s

’ Law e . It also gav an admirable production of D unsany s

Th e Golden D oo m. CHAPTER IV

OTHE R L ITTLE THEATRES O F TH E EA ST

T HE RICHM OND H ILL PLAYERS

T H E R H P e o f R H ichmond ill lay rs ichmond ill , L . I e e 1 1 6- 1 1 et e e stablish d 9 9 7, do not as y poss ss a Littl Theatre ; but the y will undoubtedly possess one in th e near future for they are working strenuously and

Pe h successfully for that end . nding t e time wh en they have a th eatre o f the ir own th ey are using a rented hall

e e n ar th ir interesting barn workshop . In taking this hall for their temporary theatre they

e n f hav had to overcome all ma ner of dif iculties , and they have done so with a spirit which augurs well for their f ff T h f r h e e . e e o t e utur orts hall , wh n not in use three per formances a month given by the Community Players f R H M T ff o e . S ichmond ill , is a asonic empl cenic e ects having depth and verity have to be produced on a stage twelve feet wide and nine feet deep with a proscenium

e - A m asuring only twenty four feet . dded to this handi cap there is adrop curtain which goes with the hall and

T e be d cannot be removed . his curtain can b st describe

A P of in the words of rthur ollock , literary director

P e a ed the lay rs , who says that it looks as if it were p int w t i h tomato ketchup . 80 OT H ER LITT LE T HEAT RES O F T HE EAST

Far from allowing thems elve s to be discouraged by this enforced monstrosity th e Playe rs have turne d it into

e a an asse t for educating their audi enc . It is clear case

“ ” f e W e th e o Look on that pictur and on this . h n

e e e e k tchup curtain disclos s the stag , having sc nery that

S e I n e th e e e e is impl lin and lovely in color, audi nc g ts a h distinct impression o f what t e Playe rs are trying to do . T hey are trying to banish all that the ke tchup curtain

f Th e e o f e C The stands or . id a stablishing a ommunity atre at Richmond H ill gre w out o f th e succe ss o f a trial

’ p er formance o f Oscar W ilde s Th e I mpor tance ofB eing

h 1 1 - 1 1 Th E ar nes t e t e W e 6. e , giv n in int r of 9 5 9 group who were late r to form the mselves into th e Community Playe rs had b een inte re sted from the ﬁrst in th e W ash ington S quare Playe rs and the ir r emarkable achi evements

f The R in creating b eauti ul scenery for small cost . ich mond H ill Playe r s decide d to do I n a small way for their community what th e W ashington S quare Playe rs

e f r N T e had don on a larger scale o ew York City . h re f e e z e e th A 1 1 or th y organi ed v ry arly in e utumn of 9 6. T he group is made up o f pro fe ssionals and ama teu rs o f e e e e th e e e , all whom giv th ir s rvic s to th atr with

T e e e out remune ration . his is mad possibl becaus they have th eir pe r formance s eve ry ﬁve or six w eeks i nstead

f T e e e e e th e C o e ve ry wee k . his th atr r pr s nts ommunity

’

P e e . lay rs avocation , not th ir vocation

Th e C P e e e e th e e ommunity lay rs , h art n d by rec ption o f e e ff Th e I m or tan ce o B ein E arnes t th ir initial ort p f g , E started a subscription list . nough was s ecured from “ ” this to cover the ﬁrst running expenses of the theatre . T HE RICH M O ND HILL PLAYERS 8 1

e f e e e A barn was hir d for a workshop , o ﬁc , and r h arsal h H e e e e e e e . T e room . r sc n ry is paint d and costum s mad

h f Th e M asonic T emple was hired for t e per ormance s . inte rior o f this hall is not so irritating as its proscenium

The are e e e are f e curtain . walls cr am color and th r um d

e e e th e e e e oak pan ls and b ams , so that wh n sc n ry d vised

B I S i i or . A e by Ruth Hambr dge G . shworth g v n to

th e e e e e e vie w, and k tchup curtain banish d , th r is som

T he e 2 sense o f completeness . auditorium s ats 34 peopl

S eventy - five cents and fi fty cents was what th e Com munity Playe rs asked for s eats for their first p er form

T e e e th e e o f ance . his pric was low r d to d mocratic sum

ﬁ fty and twenty - ﬁve cents for th e next pe r formance s

e Th e with markedly improv d results . ﬁrst audience was

th e T h e complacent ; and house was not ﬁlled . e s cond

e e e e e e e e the audi nc was homog n ous , and ﬁll d v ry s at in

An for a T hall . y suburb striving Community heatre has

e th e f e e e e e to fac act that p opl say to th ms lv s , Oh , I can go to a show in N e w York for fi fty or s eventy - fi ve ” B f e e e . ut c nts , and a b tt r show at that at fi ty and

e - ﬁ H e e tw nty ve cents this spirit does not so e asily arise . r — — e e - in - e - e e is drama r asonabl pric drama within asy r ach , h T h without t e trouble o f commuting . his is t e way an

e e e e th e e audi nc is caught , and h ld wh n work is as m ri torious as that don e by th e R ichmond H ill Community

P e B f - lay rs . ette r a full hous e at fi ty and twenty five ” e e e e e c nts than a spars ly fill d auditorium at high r rat s ,

C P e e e said the ommunity lay rs , and tim has prov d that

are Th e e they right . sale of tick ts added to the sub 82 OT HER LIT T LE T HEAT RES O F T HE EAST

e e e e ae scription list , cov rs th ir running xpens s , and le v s them free from worry . T he accomplishments of th e Richmond H ill Playe rs are twofold : th ey have formed th e nucleus of a Com munity Theatre : and they have kept th e spirit o f this theatre fre e and experimental . It is both a Community

T e - n th e e h atre and a try out theatre . O e of actr sses

h er e e e ff o f has , through work ther , r ceiv d an o er a pro fess ional engagement from one of th e most progressive and artistic of the younge r N ew York manage rs dis h tinguis ed for the worth of his productions .

A modern one - act play given its ﬁrst production by th e C P New ommunity layers , was purchased by a York

“ ” As S e th e manager . a id light on costs , manager in

— - qu estion equipped this play with a three thousand dollar

e Th s tting . e Community Players had put it on to the i r

’ ’ the satis fac own , the author s , and visiting manager s tion for exactly six dollars ! S ome of the plays in th e repertoire of th e Community Players for their ﬁrst s eason has bee n as follows :

Cr is in Le S ae S u ch aChar min Youn M an p , by g ; g g , by Z oe A A H ous e o Cards Plain with Fir e an d A c kins ; f , y g , cordin to D arwin Pe aW e A t Ni h t All Cats g , by rciv l ild ; g A r e Gra e ar an Th e P rodi al D oll amar y, by Rob rt G l d ; g , i n ette e Sa a R us inol A B ri h t M ornin o com dy, by nti go ; g g, f rom th e S panish o f Quintero .

T HE W ORKSHOP T H EAT RE O F YONKERS

T H E Workshop Theatre o f Yonkers ( 1 9 1 7) is unique

I n e e e e e that it is a th atr stablish d by wom n , and run by

ar th e h e . e e e t e e th m Young wom n dir ctors and play rs , h e e e e T t e . playwrights , and sc nic and costum d sign rs hey have ﬁtted up a pretty little playhouse on Palisade Ave

e e T e nue and give n s veral spirit d productions . h se pro duction s have be en such as childre n and young people delight in; but like all true fairy tales the re has bee n enough o f folk lore in them to make their appeal uni

T e e Th e S l ee in B e . eau t v rsal hese plays hav be n p g y,

Th e Gold en Goos e Th e Kin o Camarand , and g f .

This theatre has no subscription system . It asks the democratic price of ﬁfty and seventy - ﬁ ve cents for its performances . T H E D RAM A LEAG UE PLAYERS O F BUFFALO

T H E D rama League Players o f Buffalo ( 1 9 1 7) have ﬁtted up a small stage and installed an adequate lighting system in th e D rama Leagu e he adquarters of that city .

D 1 1 e e r e e e uring 9 7 its stag d co ations have b en v ry simpl ,

ee e Ne e e N e . v n spars e . o laboration has b n plann d for xt

e e f s eason experimentation in sc n ry is to go orward . W ith real practicality th e D ramaLeague Players o f Buffalo d ecide d that instead o f trying to do too much in any one year they would devote e ach year a certain sum toward accumulating all that is nece ssary for the ir Little Th e

Th e S 1 1 e e e e e atre . pring of 9 7 was th r for giv n ov r to

the e e e 1 1 acquiring stag and its lighting quipm nt . 9 7

1 1 8 be e e e e e e be . 9 will sc n ry y ar , wh n sc n ry will acquired S o many Little T he atre s try to do too much all at

e e T h f r e e e e . e e a onc , and ov rr ach th ms lv s balanc and sightedness o f th e D ramaLeague Playe rs o f Buffalo are

for e e e . comm ndabl , and mak stability It is an ama teur f e e T group , with a skil ul amat ur as dir ctor . his group produce s on e - act plays and leans toward th e pro duction o f work by American rathe r than by foreign

T e r playwrights . h i ﬁrst plays have b een Th e F l or is t

S h o W f e H awkbr id e Th e R es cu e R p, by ini r d g ; , by ita

C e S Th e N ei hbors Z aG r ighton mith ; and g , by on ale . The activities of th e D rama League Players o f Buffalo Th are not conﬁned to their own small theatre . e Players 84

T HE LITT LE T HEAT RE O F ROCHEST ER

’ T e e Th e D ROCH ES TER S Little heatr , found d by rama

Fe 1 1 e the o f th e League in bruary , 9 7, is hous d in hall

A . e e e F ine rts building Its attractiv auditorium , d corat d h e 2 0 . T e e o f in black and whit , seats 5 people purpos the Little Theatre playe rs is to produce in a simple and convincing manner inte re stin g and important one - act

’ h E e A e plays by t e world s best dramatists , urop an or m ri

The e T e n k can . Littl heatr frankly a nounces that it ma es no boast of novelty since this idea is being success fully carri ed out in many other citie s . Th e Little The atre Playe rs are all amateurs imbued

o with the love of drama and a relish for hard work . S Th Th far the Little The atre has no dire ctor . e Little e atre Playe rs stage the ir own plays and design and make

e the ir own costume s and scenery . S inc rity and sim plicity are their watchwords .

T e e the he ir theatre d p nds upon public for support .

Th e h There is no subscription system . e b st seats in t e

Th e e are e e . house are one dollar . r maining s ts ﬁfty c nts T he performance s have b een so admirable and met with such response that the Rocheste r cente r of the D rama Le ague feels that the founding of this Little Theatre is th e e e ae most constructiv work which th y h v yet done .

A e are Fanc F ree mong the plays th y have produced y , S H err ot o the M inut E by tanley oughton ; Pi f e, by rnest 86 T HE LITT LE T HEAT RE O F ROCHEST ER 87

D Riders to the S ea S n A M arria owson , by John y ge ; ge

H as Been Arran ed A S Kaat A g , by lfred utro ; y , an rabian

’ N e M B Th e Cam den Wonder ight s pisode , by ilton ond ; p ,

M aseﬁeld and A Good Woman A by John , , by rnold

Th e o f Bennett . production the two last plays was con sidered by Roch este rians the most success ful of the Little

T e ff f th e o f ew o f heatr o erings rom point vi art . Th e

T P e e f Little heatre layers giv one p r ormance every month . T HE PRINCE ST REET PLAYERS O F ROCHEST ER

‘ S T ILL anothe r group o famateur Players are in Roches

th e C e e e ter, using ons rvatory auditorium for th ir th atre . They have been organi zed under th e direction of Anna

’ W R n T e e P e are e P ynne O ya. h s lay rs call d the rince

S ee P e T e one - E tr t lay rs . h y also give act plays by uro

e A e T e e p an and m rican dramatists . h y furth r announce that they will produce plays which have not had previous

th e production , thus giving aspiring young dramatist a

e see The P e P chanc to his work acted . rinc S treet layers

e e T e e e er hav no subscription syst m . h ir w ll att nded p

formances are S e f given once amonth . eats rang rom

f one T e e e o f ﬁ ty cents to dollar . h ir op ning bill consist d

Th e N obl e L ord P W e A M arriae P r o , by ercival ild ; g

os al A T ch ekoff A P lain O ne Wor d F p , by nton ; y , by rank

’ E th e in s C . o f L ad W der mere Fan gan , and ﬁrst act y , by

Th T e W e . e e ee Oscar ild h atre , which has b n remodel d f e e 2 60 e e . e rom a quaint stabl , s ats p opl Oth r plays pro d uced by the Prince S treet Playe rs have been D awn and

A H ous e o Cards Pe W Th e Workh ous e f , by rcival ilde ;

Ward G e Th e S u er S cene r om A natol , by Lady r gory ; pp f ,

’ S z e D u t S O Br ie n Th e L ocked by chnit l r ; y, by hamus ;

Ch es t M aseﬁeld S auce or th e Em er or b , by John ; f p , y C M John hapin osher .

T H E NEIG HBO RHO O D PLAYERS O F E A K N N W . . R , J

T H E P o f N . Ne Ne . ighborhood layers wark , J, a simi

z e e A e e lar organi ation , l an mor to m rican plays , and hav

e o f e e e giv n productions s v ral plays by nativ authors ,

Th e N obl e L ord P lain with Fir e A notably , y g , and

H ous e o Cards P W e Th e Alibi W il f , by ercival ild ; , by

H e o f Ne Th e M aical Cit liam amilton Osborn , wark ; g y,

Z oe A E by kins and plays by uropean dramatists , includ

’ R oda A f N e S abotae d E stoc Th e ing , by l red oy s ; g , by ;

Glitterin Gate th e L os t S ilk H at D g and , by Lord unsany

Th e N P e h eighborhood lay rs have a studio t eatre , All with an auditorium de signed along studio lines .

e e e e T e are e . s ats are r s rv d . h y ﬁfty c nts and one dollar

Pe f e are e e th e r ormanc s giv n three nights a w ek , and bill

e e e At th e A rt T e e M th e chang d w kly . h atr m oscow

. A th e audience is not allow e d to applaud . t S tudio Th eatre th e audience is re que sted not to bre ak in upon th e play with applause ; but to applaud only after the curtain

f e has all n . T HE BRID GEPORT PLAYERS

P e ze e 1 1 are T H E Bridgeport lay rs , organi d arly in 9 7,

T e are working toward obtaining a Little Th eatre . h y

T e e e e wholly an amateur group . h ir ultimat aim , aft r th y

T e e e have e stablished a Little h atr in th ir city , is to pro “ e e e e e duce good , whol som plays , and to p rp tuat and ” T e uphold the best traditions o f th e th eatre . his Littl

e e o f th e e e th e e e Theatre is to be a th atr p opl , by p opl , ” for th e pe ople . Its ﬁrst production consiste d o f two plays me ant to

T e e contrast th e n ew and old schools o f come dy . h s plays

’ ’ z B e Twelve - P ound I ook S e r Th e were arri s , and h idan s

Until such time as the Little T heatre is built th e Bridge port Playe rs are using local theatres for th e production of

S e e e e th e B e e e the ir plays . v ral m mb rs of ridg port C nt r of the D rama Le ague are also members or associate mem bers o f th e Bridgeport Playe rs ; but th e founding o f th e

P e D e e lay rs is not wholly a rama L ague v nture . Th e Bridgeport Playe rs are divided into two groups an active group which will d o active se rvice for th e th e atre within its four walls ; and an associate group who forward th e impulse through every means in their powe r and who h elp to sustain th e Players ﬁnancially and artis tically by their presence as audi ence . T HE M CCALLUM T HEAT RE OF NORT HAM PT ON M A ( SS . )

A T H EA TRE where s eats are free ! N ot aprivate th eatre

e e e e few ar e on N wh r a s l ct put an invitation list . ot a

e e e e e e coll g th atr , or an institutional th atr , or a work

e e or e e e e e shop th atr , a s ttl m nt th atr , or a philanthropy ; but a genuine Little Theatre with a permanent company — and a well - known stage manage r as director ath eatre wh ere any one who loves th e art o f th e stage may attend

o f e S e an evening po tic plays or havian plays , or d cora

e f ee h e e tiv plays as r ly as may att nd a public library , or

e e h an art mus um . Only in this cas e goes to see not a s tati ar —th e o f th e e T c t but a living art art th atre . his

’ free theatre is one o f Ame rica s unique contributions to th e rapidly growing list of diffe rentiated Little The atre s that we have in our midst today .

Th e e e N town that boasts such a th atr is orthampton , h P M . e e e t e e o f ass , a plac that J nny Lind call d aradis

A Th e f S e h er me rica . amous songstress p nt honeymoon

e e P e R e e o f th e th r , and aradis oad was nam d in m mory

h h W e compliment s e paid t e town . hat mor natural than that Paradis e Road should be the street on which this

the free theatre is situated . It is a gift of townspeople

- z M r e B G e . M ll m . cCau from a public spirited citi en , org ,

e e Th e M c T and it is call d after its own r, c allum heatre . It exists solely to awaken public interest in the ﬁner things

9 2

T HE T T E T HEAT RES O F T HE EAST 9 4 O R LI L . decided that his playe rs should give plays by European dramatists rather than by American dramatists because the Northampton Theatre is already keeping th e work o f A e e f e T th e m rican dramatists b or the public . hus policy of the M cCall um Theatre may be said to be a f ” oreign policy . But in S pite o f its foreign policy anything more democratic than this the atre is hard to imagine or any thing more original than th e way in which th e company o f C e ommunity playe rs w ere drawn together . In ord r not to have th e company repre s ent a sp ecial social set

M r M cCall um e th e or group , . advertis d in daily

e S e e e 1 1 6 effe e pap r in pt mb r , 9 , saying in ct that all thos who we re inte rested e nough in th e art o f community acting to be willing to work hard for it would meet on acertain e vening to try out for parts with th e director

f h e o t e T e e E e one e . proposed Little h atr . v ry was w lcom

’ M r M c all um s e . C name did not app ar in connection with th e N o e e adve rtisement . one gu ss d that he had any

H o ee - e th e a thing to do with it . w d p root d love of dram

th e N is was shown by e r sult . orthampton is a conserva

New E o f P tive ngland town , strong uritan tradition , but

e e e e f seventy p opl answered the adv rtis ment , people rom

N or e e e . e all ranks of life . wer th y all young peopl Lov

h e The e of drama is not conﬁned to t e e arly tw nties . arly f orties take just as keen an interest in it .

From th e se venty applicants thirty- two were selected

Th e to form th e nucleus of th e permanent company . artist chosen as director o f th e theatre was F rancis

P n as w owell, well know for his work stage manager ith M c cALLUM T HEAT RE O F NO RT HAM PT O N 9 5

S othern and M arlowe and as coach of the H arvard D ra matic Club . M erit was th e touchstone of de cision for enrolment in

T e e e e e the M cCallum heatre company . M mb rs w r chos n

t e according to what h y could do , not according to who

e Th e e e o f e e they w re . company was larg ly mad up p opl

M r M allum e e met e e . cC be who had n v r b for , and this

- e lieve s doe s away with sel f consciousness . It c rtainly

- e - does away with class consciousn ss , that stumbling block of unite d e ffort ! Ve ry few o fth e pe ople had had ex p eri

To e ence in amateur dramatics . put th m through a

e t o f er rigorous training, to g unity and smoothness p

’ formance out of elements new and dissimilar was Powe ll s ” Th e e e e e e job . e ag rn ss with which th se probl ms w re

e on Th e e attacked was a credit to ev ry e concerned . op n

f e e e ing per ormance showed t am work , and insc nation qual

e T e e P e e to the best in Littl h atr standards . eopl wer astonished at th e ﬁnished work that could be done

e fe Y by amat urs under pro ssional guidance . et it has

’ M r M cCall um always been . s dictum that all actors — were once amateurs save those who come from professional families where acting begins in th e cradle ! S ince th e M ccallum Theatre is a free gift to the public no one connected with it receives a salary save the direc

on e the f h tor, whose should rs strenuous part o t e work Th . e e e e are falls sc n ry, costumes , and prop rties provided

M r . M c e th e e e f Th e th e by c allum as w ll as th atr itsel .

’ e th e f o f M r M cCall um s atr occupies top loor . residence .

e 2 0 e It s ats 5 p ople . Its woodwork , beam ceiling, latticed 9 6 OT HER LIT T LE T HEAT RES O F T HE EAST

- e e are windows , and bench like seats arrang d in ti rs in mission brown .

e e f e R ehearsals take place v ry a ternoon and vening .

Each one - act play has its own e vening and its own hour

f e e e abso o reh earsal . S trict attendanc on r h arsals is l u el e e e e e t y obligatory . It is also r quir d that ach m mb r o fth e company be a citi ze n or citi z eness o f Northampton . N o casual members from outside are admitte d . M eanwhile there was th e problem o f h ow th e free

e e S e e tick ts wer to be distributed . inc ach member of the cast gave his or h er se rvices to th e the atre e ach mem ber e e ﬁve e e e e re re was ntitl d to tick ts , and ach m mb r p

e T s nted some different el em e nt in Northampton . his meant that as many varying groups o f pe ople as possible

e e e e But e e cer r c iv d tick ts . to mak c rtainty doubly

M r M ll m e tain . cCau had a mailing list arrang d which

’ should reach all Northampton s townsfolk in rotation . T f f hus the elements o a ree the atre we re assured .

' A fte r th e play is over refreshments are s erved down

e e e ee stairs , and people ling r to discuss what th y hav s n ,

th e z e th e e e and as proof of sociali ing forc of th atr , townspeopl e m eet fellow townsp eople whom othe rwise

e e e e e th y might nev r hav known , had they not discov r d

e e P r e int r sts in common . ostcards ae distribut d on which th e audience is requested to send in criticisms o f th e plays or que stions about them or pre fe rences for othe r dramas

h T e e which might be produced in t e future . h s postcards are not signed in order that expre ssion of approval or

e ee disapproval may be p rfectly fr .

s o d On each program there is a seriou c me y, a farce,

9 8 OT HER LIT T LE T HEAT RES O F T HE EAST row golden - brown programs appear th e names of the various one - act plays ; yet the name s o f th e authors who

are e e T have cre ated these plays n v r given . hus through an evening people can be left in doubt as to whether they

r R B S e ae listening to udolph esier or teph n Leacock . Amongst the plays produced at the M cCallum Theatre

e ee Lithuania R B e Th e Good hav b n , by upert rook ;

W oman Ge e M e Th e M aker o D r eams , by org iddl ton ; f ,

D S u res s ed D es ir es G e C by Oliphant own ; pp , by eorg ram

C e S G e P ierr ot o th e M inu te ook and usan lasp ll ; f , by

A D Th e Littl e M an G rthur owson ; , by John alsworthy ;

R os es S e Th e P os t Ofﬁce T e Th e , by ud rmann ; , by agor ;

S tr on er S e . g , by trindb rg

’ S ome account o f Northampton s be tte r- known M unici

T e e T mabe pal h atr , which is not a Little heatre, y found A in the ppendix . T HE LITT LE T HEAT RE O F PHILAD ELPHIA

T H E e T e e P e th e Littl h atr of hilad lphia , under dirce

f M B h er 1 1 o E . tion iss eulah Jay, was built by in 9 3 “ for th e purpose o f giving each season a repertoire of the most inte re sting plays o f all types by th e most rep resen tative authors ; revivals of old plays and n ew plays a theatre where th e ﬁnest traditions o f th e stage will live

be f N o e T e e th e e S e s and ostered . Littl h atr in Unit d tat has clung more tenaciously to th e ideafor which it was h T f P e stablishe d than has t e Little he atre o hiladelphia . It is one o f th e be st arranged Little Theatre s in this

e e country . Its auditorium , charmingly d corat d in brown

e 0 eO l e : its e e is and old gold , s ats 33 p p ad quat stage equipped with every n ew de vice o f th e theatre save th e

z th ff n n hori ont . It has e newe st e ects in lighting and i sce ation it has a built - in tank by means o f which th e whole

be ded t An a a stage can ﬂoo wi h water. unusu l regatt

e e scen in one play mad use of this innovation . The permanent Little Theatre company is made up of professionals and gi fted amateurs ; while from time to time sp ecial e ngagements have been played by well - known

T e companies . hes have included Annie Russell and her company ; Lucien Bonheur and his company ; Rudolph

Christian and th e Ge rman company from the Irving Place

T e e New e t h atr , York ; as w ll as the Washing on S quare P layers . 1 0 0 OT HER LIT T LE T HEAT RES O F T HE EAST

Both long plays and one - act plays by Ame r i can and f e F e s ae oreign authors have been giv n . or ign author h v achie ved a gre ate r numbe r o f p r oductions than have

A e Two e m rican authors . original pantomim s with

e e e e e ee e O ne o f e d corativ sc n ry hav b n giv n . thes was

Yoku - Ki F e e Be e th e e Th e Kin , by lor nc rnst in , and oth r g Bl I T T o th e ack s l es S . s e e e f , by arah Yarrow hi Littl h atr

e o f n ew does not mak a point producing plays , as do many of th e oth er Little T he atre s ; still it h as h ad some

e e e v ry interesting ﬁrst performanc s to its cr dit , including

T omorr ow Pe M e H is M aes t th e P ool , by rcy ackay , and j y ,

C n A e by harlto ndr ws . Another point in which the Little The atre o f Phila delphiadiffe rs from its contemporarie s is in the fact

e e that it has no subscription system . It d pends upon r gu

n Th o f f e lar patro s . e price f seats runs rom ﬁ ty c nts to two dollars .

The are P e a scenic effects designed by hilad lphi artists ,

are and admirably done .

Th e a B repertoire has included pl ys by ernard S haw,

H e A M D a nry rthur Jones , aeterlinck , unsany, Ibsen , Osc r W F a H W t. h a ilde , r nk edekind , S Jo n nkin , and Josephine P P reston eabody .

1 0 2 OT HER LIT T LE T HEAT RES OF T HE EAST

ee ee fe and the ad f t d p , having an opening of thirty et, u i tor ium e e 0 0 a e , s ating approximat ly 5 , by simple proc ss

be f e T may trans orm d into a level floor. he re will be

e e e e e f s v ral r h arsal rooms , library , kitch n , and o ﬁce . Th e gene ral scheme o f architecture will be o f th e

E z e a e li ab th n p riod . Plays and Players have produced during the past ﬁve

e e th e y ars among many oth rs , following plays :

Th e L ear ned Ladies M i e re Th e I d eal H us band , by ol ; , by ’ ar W e Th e Cam d en W ond er M aseﬁeld N oah Osc ild ; p , by ; s F l ood an d Nice Wan ton ( XI V and XV Ce ntury M iracle and M orat P a What th e D octor rd er e O d A . E . li y l ys ) , by

T oma What th e P u blic Wants A rn o Be e h s ; , by ld nn tt Comus b oh n M ton M as ter Pierr e P atelin aF re , y J il ; ( nch ’ T r i mm om e o f h e D oc to s D l e ab G . Be rn ar c dy , y d S a Th e Littl e S ton e H ous e b Geor e Ca e r Th e h w ; , y g ld on ; ’ ’ S on and H e ir G a n e r O - o - M e - Th u mb , by l dys U g ; p , by F re de rick P e n n an d Richard P ryce ; D olly R eforming H er s elf H e n r A r th r on e Th e H ou s e N ex t D oor b , by y u J s ; , y

H art e M an n e r s Th e P os t- O ce b Rabin d ran ath J . l y ; fﬁ , y Taore Lithu aniab e rt B roo e Th e Con tras t th e g ; , y Rup k ; (

r Ame r can ome b o a T e r Te n ts o th e ﬁ st i c dy ) , y R y ll yl ; and f

A rabs r D n an . , by Lo d u s y

h e e e In addition to t plays just m ntion d , a partial list o f th e authors re presented to th e pre sent time is as follows

Gre o S e r a e S z e . M . Bar Lady g ry , ud m n, Y ats , chnit l r, J r i eton S tr n e r Be a M r e D ix D e e , M iddl , i db g, ul h a i , bussy, an M ae H o ton N o e Vrehlick B r e D , ugh , y s , y , i ux, uns y , p s a e E z B e T ch ekoffu S t G . P u ro, rundy, J lm r, li abeth ak r, and CH APTER V

T H E LITTLE TH EATRE S O F CH I CA GO

C H I AGO e th e W e ee e C , the larg st city in st, has thr Littl T f e e one e o . h atr s , each having a strong not individuality T aken s eparately they represent thre e distinct types o f

’ e M B e ee e T e e r e theatr s . aurice rown s pion r Littl h atr p resents the repertory art theatre ; th e Workshop The atre repre sents th e localistic exp erimental theatre ; th e H ull H ouse Theatre with th e H ull H ouse Players rep re

h e sents t e sociological typ .

T HE LIT T LE T HEAT RE O F C H ICAGO

’ O f these theatre s M aurice Browne s Little T h eatre

h 1 1 1 - 1 1 2 e was t e ﬁrst to be e stablished in 9 9 . It is locat d on the fourth ﬂoor O fthe F ine Arts building on M ichigan

A e venue . Its charming interior is white outlin d in gold ,

Th e and there are dark green seats . auditorium is long

Th - and narrow . e seating capacity is ninety one .

F f M r B e h f . t e e rom the day of its ounding rown , in ac

e ffi e th e of se mingly insurmountable di culties , has h ld to

T e e idea for which this Little h atr was establish ed . It was not as easy to make a success o f a Little Theatre

1 2 T e e in 1 9 as it is in 1 9 1 7. h r was no public ready and 1 T H E TT E T HEAT ES F H C 0 4. LI L R O C I AGO

fo r - e f e M r B e waiting the non comm rcial ar . rown had to

ff H e e e o er . had to ﬁght the early prejudice that lab l d a “ !B ” Little Theatre D angerous eware of H ighbrowism . It is a thousand times e asi e r to succeed with the Little

T M r B e heatre today than it was when . rown ﬁrst sought

e P e e e th e e o f to stablish his . eopl have becom us d to id a

e T T e e e Littl heatres . h y are no long r look d upon as strange and impractical .

’ M aurice Browne s Little Theatre is thus described by its founder It is a repertory and experime ntal art

e e e th atr producing classical and mod rn plays , both P e e e . e e e e trag dy and com dy , at popular pric s r f r nc is

e e e giv n in its productions to po tic and imaginativ plays , dealing primarily wh ethe r as tragedy or comedy with

The T e e character in action . Chicago Little h atr has for its object th e creation o f anew plastic and A ” rhythmic drama in merica . Th e Little Theatre is supporte d by a membership o f som e 40 0 people who pay an annual subscription o f ten

th e e o f e th e e e . dollars , and by sal s ats to g n ral public Th e subscribers who pay ten dollars a year are admitted to all per formance s o f th e Little T heatre Company with

e e e e th e out charg , and to all oth r ntertainments giv n in T A e e e e . on Littl h atr at half pric dmission is e dollar . S o admirably have the ﬁnances been managed that the

e T e e Littl heatre , which began with an ind bt dness of

e off ﬁft - ﬁve was abl .to pay y per cent . of its

’ f And debt a ter three months work . this work included the production o f plays produced primarily for love of

for e Th e art and not lov of gain . plays were simply and

1 0 6 T HE LITT LE T H EAT RES O F CHICAGO and swee p to the acting ; th e pose s of the chorus we re

te plastic and pictorial . Its s rn simplicity was far more

’ moving than Granvill e Barke r s more e laborate pro duction . The Little The atre produced Th e Tr oj an Women dur

the e o f 1 1 2 - 1 1 I t h ing s ason 9 9 3. was t e ﬁrst produc

o f A e h tion this play in m rica . It was revive d by t e

T C f 1 1 - 1 1 Little heatre ompany during the season o 9 3 9 4 . In the course of both thes e seasons it was played in sev e A th e ral other merican cities by same company , who

1 1 - 1 1 e revived it again during the season 9 4 9 5, and tour d h P the country with it from the Atlantic to t e aciﬁc Coast . Th e Tr oj an Women had one scene throughout : A massive stone wall lost to view beyond the line o f th e

f T e e th . proscenium arch , orm d e background his ston wall , j aggedly cleft in the center, showed the sky beyond . Not only were the massive squares o f stone that formed the wall played on by different lights as th e play pro ceeded ; but the sky beyond the jagged cle ft changed gradually from the intense blue of full day to th e so fte r

f Th e red o f o i vm ffe . colors dusk , thus g g di rentiation th e e e flaming city also flar d beyond this cl ft , and char acters e ntering or leaving th e scene stood out in dark silhouette against the fiery background . It was a scenic triumph made possible largely through its remarkable lighting . Th e Chris tmas M ys tery Play was given totally in sil h ouette th e th e N ew T e , with figures of estam nt story

- h moving in ﬂat shadow bas reli e f against t e curtain .

' T h i T he his s adow play was l t from the back . slightest P h otog r ap h by E u gen e H u tch i n son

’ S L TT E T EATRE Th e S er m on on th e M oun t at M A URICE BROW N I L H , A CH IC GO .

' o - L an e B e r mis s i n . From M od e r w e l l s Th e T h e atr e of T o d ay ( ) y p

H H ou s E T EATRE C CA O . Part o f th e Auditor ium o f T H E ULL H , H I G

1 0 8 T HE LITT LE T HEAT RES O F CHICAGO

e e e e h ibited in N ew York . It show d a sc n ﬂood d with T th e bluish white o f moonlight . here was a shallow

f f th e n stage and a back drop o aint bluish white . In ce ter of this back drop was agre at creamy midsumme r

- e th e moon , round and low lying , just coming up ov r rim o f h O n e t e midsumme r dusk . e gr at dark branchless tree

e th e e trunk soar d up beyond prosc nium arch , and was

e T o s e e f lost to vi w . look at thi sc n was to eel that in

e T a h er f e e e e a mom nt itani and airy r v l rs would app ar .

o f e et e f It was magic lov liness , y simplicity its l .

’ M r B e T e e ee i . rowne s Littl h atr has b n a potent nﬂu

th e th e W e o f ence in art of est and its play rs , many

e e e T e e are whom are now app aring in oth r Littl h atr s ,

e - e e for h e spr ading the non comm rcial gosp l which stands . Th e repertory o f th e Chicago Little T heatre has in cluded th e following plays :

Th e Tr o an W omen an d M ed ea E r e H edda j , by u ipid s ;

Gabl er and R os mers h olm e n Cr editors an d Th , by Ibs ; e S tr on er S tr n e A n atol b S n tz e r Th e H a g , by i db rg ; , y ch i l ; ppy P r ince a W e raat ze b Lou Wa M ore , by Osc r ild , d m i d y ll o A e D el hin e D e clines b M aret T . e on ar and arg ll n ; p , y L d M e r raaze b re Taft Th e P ix Th e M oth r ick, d m ti d y O n ; y , n e H ae ers an d Th e S u b ectio o K z iab M rs . o E , j f , y v l ck llis ; ’ Th had ow aters b n Bail e s S tr and e S W W . B . O and y , y at Th e Philan der er Geor e Be rn ar S a Women Ye s ; , by g d h w ; Joint wn ers ih S ain A e i d . O k n W . W G , by ibson ; p , by lic n Cath erin e P arr b M r e Ban Th e M aker Brow ; , y au ic ri g ; d M r P e an s . . R o o D r eams b an D o n M r . f , y Oliph t w ; , r o o Th e F ifth Comman dmen t S an e by M atyn J hns n ; , by t l y e n Han Jael Th Cons tan t L ov r b S t. o H oughton e , y J h kin ; ,

n er r Th e L os t S ilk H at b r by F lore ce Kip F ank ; , y Lo d ol umbin e Dunsany ; C e (also produced as a pupp t play) , by T H E LITT LE T HEAT RE O F CH ICAGO 1 0 9

e na A r e Th e D el ud ed D raon a et a R gi ld k ll g ( pupp p l y) , by Harr et E e ton and E en Van Colkenbu r an d Th e Chi i dg r ll g, cag o Littl e Th eatr e P as s ion Play ( in pantomime and in silhouette )

M ost of the above plays we re produced at The Littl e

th e e A e for Theatre for ﬁrst tim in m rica , many the ﬁrst time on an y stage . T HE WORKSHOP T HEAT RE O F CH ICAGO

CERTA I N L Y no Little Theatre in th e United S tate s gets the work of its theatre group more surely and quickly be fore the public than doe s th e W o rkshop T heatre o f

C e T e e e f hicago , a Littl h atr with an nthusiastic ollowing

e o f ff and with a strong not individuality in its e orts .

The W T e e e e 1 1 6 orkshop h atr op n d in 9 . Its policy is

e f e to give ﬁrst p r ormance s only . It will produc only

e C C plays writt n by hicago authors , acted by hicago ama teurs e e ffe e b Ch i , with sc nic cts and costumes design d y

N o e e ! T h cago artists . oth rs n ed apply e W orkshop

T e e in th e f heatr is absolutely localistic and glori s act .

Th e are e ee e programs giv n one w k in ach month , run

e ning six cons cutive nights . Th e W orkshop T heatre b egan without any money merely a printed announcement that it intended to be an experimental the atre where ideas could be worke d

e Th e e e f out in actual practic . theatre would ﬁnanc its l

o f e th e e through two groups , one composed activ and oth r o f Th e e for e e e associate m embers . du s m mbership w r e ee l o A e e e e e xc dingly w . ctiv m mb rs includ d all thos who

e e : wanted to writ plays , act in plays , or produc plays

e e e e e i e e also all thos who want d to xp rim nt w th sc n ry,

F or e e e e th e prope rti e s and costumes . th s m mb rs initia

f n a fee e o o e . tion was ﬁve dollars , with monthly du s doll r These dues entitled the membe rs to two tickets for th e

1 1 0

1 1 2 T HE LITT LE T HEAT RES O F CHICAGO

M he C P e . t B S . J . landing loan and harles Lars n ost of e e e e e e are th e stag d signs , wh th r simpl or xotic , work of

B S e ee e o f landing loan , who combin s a k n sens color

e e f valu s with an equally kee n s nse o e conomy . It is intere sting to note that this theatre in fourtee n months

e e e new e e e has giv n tw lv p rformanc s , has produc d thirty one new T en f o f ee one - plays . per ormances thr act plays each have been given for A nd this in cludes e e e e e r nt , light , printing, sc n ry, costum s , and acc s Th se ri es . e costumes and scenery are de signe d and made

’ W T e in the orkshop heatr s studios . Th e auditorium o f th e Little T heatre which th e W ork

P e e e e e e e shop lay rs hav arrang d , s ats ighty p opl normally ; — — but it can and often does without undue crowding e 1 Th e e e e f s at 0 0 people . stage m asur s s evente n by ﬁ teen

Th e f e . e e e e e fe t prosc nium arch is tw lv t high . Eve ry one connected with th e the atre has a free hand

e e h er e T h wh n ver his or work is und r way . e W ork

e th e r ee n ew e ffe shop w lcomes d amatist s king cts , and

e f be e e to the radical in stag cra t , who will giv n a chanc

e fe prov his ideas , working with llow artists and assist

e e e in e e f e ants , mutually int r st d t sting , und r avorabl con

’ ditions e eff e e e e , one anoth r s orts to s cur vari ty and b auty along new lines . Th e producing o f th e play as we ll as th e acting o f th e

e e play is divid d among the m mbers . Usually an author produces his own play, though this custom does not Th f . e e o always obtain sam group players , numbering

e e e e th e o e e from twelv to ighte n , app ar in c ns cutiv plays

’ o f e one w ek s bill while the next group is rehearsing. T H E W ORKSHOP T HEAT RE O F C H ICAG O 1 1 3

T his enables th e audience to see each player in s everal parts . Plays tri ed out on the little stage o fthe Chicago Work shop Theatre have since be en acted at many othe r Little

O ne o f e th e W Theatres . th m was given by ashington S quare Players ; another by th e Workshop T heatre in N ew York ; still others at various Little Theatre s in th e

East and W e st . Th e W orks hop Theatre of Chicago is e ssentially an

F th e original and practical theatre . rom ﬁrst it has been

e a theatre o f deeds not words . It has not talk d about

T e ge tting a thing done ; it has done it . h re is nothing

e e . sporadic in its work . It push s venly toward its goal

e e It make s certain promises and fulﬁls th m . It is a hiv o f o f unﬂa in e e e e e industry and gg g n rgy, and it d s rv s its

e e . popular as w ll as its artistic succ ss It puts artist , play

e wright , and actor in touch with th ir public at a minimum

me e e o f e e ff cost and at a minimu xp nditur tim and ort . Th e repe rtoire o f this admirable Little Theatre has included th e following plays

1 9 1 6

B r own b M a e Bo en e and W ahi r , y xw ll d h im illiam S p e ; Th e H ome Comin an d Th e Won d er H at b B en H e h t g , y c an d Ke n et S a e r Goo an Ten M in u tes ren n h wy dm ; , by O T i i aft r . P er r ot n th e Cl ear o th e M oon a o , J ; f ( p ant mime b Gret en s A n I d ll o the S h o s Ben H e t y ch Rigg ) y f p , by ch an d K e n et Go a A M on Can O nl D o H is B es t b n h odm n ; y , y Ken et Goo Th e R ed F la Kenn et o an n h dman ; g , by h Go dm ; Th e H ero o S an taM ar ia Ben H e t an d Ke n et G f , by ch n h ood man D r e s b Ben H e t Civilization b E aC o ; g , y ch ; , y lish o k ;

S n ow - hite M ar Th e War Game A e W M ar e . , by i L sh ; , by lic 1 1 4 T H E LIT T LE T HEAT RES O F CHICAGO

Ge r te e r an d en z d e Cor ova Th e M an et b M ar s nb g Ri i d ; g , y y

r n T f Th - i Cor e Th e M an e at r . e P ot B o l er s ; , by O , J ; , by A ce e r ten er Th e L ullab H G o e ar . li s b g ; y, by L uis ubb d

I 9 1 7

’ P oe t s H ear t M ax e Bo en e m Th e Chil dr e n o , by w ll d h i ; f

To- M or r ow b M a e M oor e - C e en t H ow Ver S h ock , y ud l m ; y i n an T o on M rs . M ar ar e t Calh ou n Be n g, by Juli h mp s ; g , by H echt an d M ax well Bodenhe im ; S kel e tons O u t of th e ’ Cl os e t E haCoo You Can t Ge t Awa F r om I t , by lis k ; y , by F re e r c B r e e r R u mor b F re e r c B r e e r O u t d i k u gg ; , y d i k u gg ; T i o th e D ar k b D on ovan Ye uel l on s ls M ar e . f , y ; , by i L M r N o S abe E sh aC o Wh er e B u t in America! a sh ; , by li o k ; , F A r M r Banbur Cr oss b re e r Br e e . by rthu un o ; y , y d ick u gg r

1 1 6 T HE LITT LE T HEATRES O F CHICAGO young Lincoln is s een at work on one panel ; while on

e e e th e Co anoth r , his whit b ard blowing in wind , is unt L T e o olstoy and his plow . T h e H ull H ouse Players are agroup o f amateurs with

e th e da prof ssional standards, who work during y , and

e e e t e the e devot th ir leisur hours to ac ing, und r dir ction of D Laura ainty Pelham . Th e organi z ation was founded in 1 9 0 0 an d has con

e e e Th e e o f th e e as tinn d v r since . inter st m mbers is

ee h F or a e e e k n as in t e beginning . long tim m mb rship

th e But e in company was limite d to fourteen . r cently

ee s et e th e P e are this limit has b n asid , and lay rs b esiege d with applications from ambitious amateurs e e T e e ag r to join the ir ranks . al nt combin d with a capac ity for hard and e age r work is the touchstone of ad mittan h H P ce to t e ranks of the ull H ouse layers . The price o f seats in th e H ull H ous e T heatre ran ges

- ﬁ f Th e e e are from twenty ve to ﬁ ty cents . audi nc s com

e th e e e th e e b pos d partly of p opl of n igh orhood , and partly of people from uptown with whom it has become acustom to dine in the H ull H ouse coffe e house be fore h H P attending the performance of t e H ull ouse layers .

The H H P e e ull ouse layers use simple, unobtrusiv se n

r N f r e y . ow and again elaborate sets are designed o them

’ as in the third and fourth scenes o f S haw s Gr eat

th er in B Ca e . S C , designed by J landing loan and harles

P . e e e the Lars n , who have also design d scen ry for W ork T h e Ch a . e e t e shop h atre in ic go In the main , how v r, H ull H ouse Players place more stress on th e acting o f

t e their plays han on stag decorations . T H E H ULL H OUSE T HEAT RE 1 1 7

Th e o f th e P e e work lay rs is so good , so sinc re and

e one e th e unstriving , that som has aptly said it is lik

f f The e th e P work o a genuine olk the atre . fam of layers

e e th e o f e e has spr ad far b yond e conﬁn s th ir own th atre .

T e f e e e e e e h y o t n play ngag m nts at coll g s , at country

e e f e for o f clubs , and giv p r ormanc s various out town

z e as e e a e e organi ations , as w ll sp cial p rform nc s in oth r the atre s . Th e money e arned by th e Playe rs is partly put back into th e theatre to de fray running expenses ; and partly

f r Th e e e a e th e used o de se rving causes . mon y rn d by

P e 1 1 2 —1 1 lay rs during 9 9 3, amounting to was

h Th e P e spent by t e P layers on a Europe an tour . lay rs

e th e S e e e P H visit d London , hak sp ar country , aris , olland ,

e e e e e e e r and sp nt six days in Ir land , wh r th y gav a p formance at D ublin Castle under th e patronage o f Lord A and Lady be rdee n . Among th e innovations of the Players was a four

’ f o ne - C T nights run o act plays by hicago authors . hese

e Th th er n T f r Cas e e O D a . plays includ d , by Oren a t , J ;

b M A P o D N o. Th e em o avid Ken 34 , y ary ldis ; f , by

Ben H n P e S . G e M r . d r . a M s . R oe n th oodman and cht ,

M The e e e e by artin Johnson . ﬁrst thre of th s plays w re produced by th e H ull H ouse Players for the ﬁrst time

R u th er n Githa . or d ad S on S e on any stage f , by ow rby , rece ived its ﬁrst production in Chicago by th e H ull H ouse

P e Th e Walkin D el e ate H S lay rs ; g g , by ilda att , and

P unis hmen t e B e E B e , by Louis url igh and dward i rstadt , also received their ﬁrst production by the H ull H ouse P layers. 1 1 8 T HE LIT T LE T HEAT RES O F CHICAGO

Pe th e e e e o f M rs . lham considers that gr atest succ ss s

’ P e b e e G Jus tice th e laye rs hav e n mad in alsworthy s ,

’ ’ G e Ke Kindlin . nyon s g , and Lady r gory s Irish plays W hile the H ull H ouse Players are th e dominating

the H H e T e e e are th e factors of ull ous h atr , th y not only

e th e N e playe rs who tread its boards . Lik ighborhood

P e N e th e H H e T e e layhous in w York , ull ous h atr has f R e e e e . us oth r activiti s going on b n ath its roo Italian ,

G ee e e e e f e sian , and r k compani s app ar th r rom tim to

T P e e e . e tim , giving plays in th ir own tongue her is a upp t

T e th e M e C h atre for children , run by arionett lub , which

’ f T e e aC e gives fairy plays or children . h r is also hildr n s

’ or Young Pe ople s The atre which give s per formance s

f e th e e e very S aturday a t e rnoon . Wh n plays produc d are for e e e r e e P ea young p opl , th n such d amas as Jos phin

’ ’ Th e P i er H B e P r u nella body s p , ousman and ark r s ,

’ ’ S hakespeare s M ids ummer N igh t s D ream and Tw elfth

N i h t r T P g ae given . h e iper was e xtraordinarily well

e t e ostere s ue stag d , with cos um s jocund in color and p q

e A f f scen ry . whole se ri e s o matinées or children have

e e e S f e d e b n giv n on aturday a t rnoons , with an a mittanc fee f ﬁ Th r o ve e . e e e e e c nts childr n came in ag r ho d s , proving they would rath er spend the ir ﬁve cents on actual A h drama than on th e movi es . mong t e plays produce d at thes e matinée s we re adaptations of Th e S l eeping

B eau t Th e F r o P rince Th e Gold en Goos e Th e S h oe y, g , , maker and th e E lves Th e Bird with aBr oken Win , g,

e e e o f H H A mad by r sid nts ull ouse . lso produced at

e e e e e Wh er e L ove I s T th s matiné s w r , by Leo olstoy ;

Th e Chris tmas Gu es t Nimble Wit and F in erkin , g , and

CHAPTER VI

O TH ER LITTLE THEATRES O F T H E WE ST

E P A H E F AKE F EST N S T H L Y OUS O L OR , ILLI OI

T H E P e F e . e layhouse of Lak or st , Ill , a constructiv

e T e e th e S o f 1 1 1 Littl heatr , was stablished in ummer 9

M r r A A M . . s by and rthur ldis . It is interesting not only for the pioneer work it does but also because it repre

e e e t sents a dwelling hous turn d into a theatr , a thing tha — e any town can copy any town, that is , that has initiativ

of and love art .

N h r A s ext door to t e house in which M s . ldis lives wa asmall frame house s et invitingly in the midst of lawn an Th ‘ e d trees . e partitions and ceilings of this house wer pul led out ; the lean - to kitchen made into a stage ; dress

- e e e e e ! was ing rooms w r add d , and b hold, a th atre It

Th e P 1 0 0 e Its dubbed layhouse It seats p ople .

r interior decorations ae in two tones of brown . H ere every S umme r since 1 9 1 1 agroup of gifted ama teurs e e F the who mak th ir home at Lake orest , act in M th plays and design the scenery and costumes . ost of e

e R M rs . scenic work has be n done by aymond Johnson ,

A A Phill ri k M n r ldis , and llen b c . a y of the plays ae

1 2 1 1 2 2 OT HER LIT T LE T HEAT RES O F T HE W EST

th e r e written by players themselves ; still others t anslat d , or made for th e occasion ; while adaptations from short stori es in current magaz ines have been fairly frequent .

T N or he re is no subscription system at th e Playhouse . are e h A s ats to be obtained by t e gene ral public . dmis sion is by invitation only . Th e Playhouse and the Lake F ore st Players are a ﬁne e e o f T e e few f e xampl community work . h y hav had r ts and jars such as bes et th e part of amateurs working with

a F or e e th e e out director . th r is no director at Lak

F e P Th e e are e or st layhouse . ﬁnal r sults obtain d through e th e e e t e th e o f l tting amat ur actor g und r skin his part , and interpret it as h e feels that it S hould be interpreted . T wo rul e s are poste d in th e green room : Keep Your

Te e R e mp r and turn Your M anuscript .

A s th e e e th e e F e P to s l ction of plays , Lak or st layers strive to give the ir audience s plays that they will not be see S the likely to in any commercial playhouse . ince

e th e P e — stag of layhous is small , static plays plays in — which th e action is m ental rath er than physical are

e e e e e P chosen in pr f r nc to any oth r . lays with a plot which n ecessitates a great deal of action are not in favor ” th e e F P e N e e ar with Lak orest lay rs . ith r e punch

e e e the plays with th ir requisit motional acting . It is

e M rs A beli f of . ldis , as it is with a growing number of

e T e th e the Littl h atre enthusiasts , that static drama ,

o f th h f T o f e t e e e o . drama soul , is most int ns all his ,

e e e e . Ce cours , is bound to r main a moot d qu stion rtainly it makes things easier for the dramatist if he escape s th e

1 2 4 OT HER LIT T LE T HEAT RES O F T HE W EST

or e . G e e method , prec dent iv n histrionic instinct , aptitud ,

e e e f ee e and observation , th y act with as , r dom , and vari ty ,

- th e and with full self surrende r to their parts . If means are not th e professional means th ey do th eir ofﬁce which is to bring the personages to life in th e terms of th e

A e e e e e are play. cting for th ms lv s in th ir own way, th y

e e - not w ighted with s lf consciousness , tradition , or imita ” tive effort . Th e policy of the Playhouse in producing new and fresh material along the line of one - act plays instead of repeating plays that have already bee n worn threadbare in commercial theatres cannot be too heartily commended . Plays that have thus bee n worn threadbare challenge the memory of the audience with comparisons that can s el

h th Pe e e e dom be to t e credit of e amateur . opl r memb r how Ethel Barrymore did this or that and compare her h h work with t e work of t e amateur . It is a wise Little Theatre that adh ere s to th e principle of producing plays

e h not s en on t e profe ssional stage . In doing so its work

e gains imm asurably in vigor and freshness . M any of the plays produced by the Lake Fore st Play

M rs . ers are now obtainable in book and pamphlet form ,

’ Aldis Plays for S mall S tages be ing in wide use and its elf explanatory of the workings and belie fs of this distinctive Little Theatre .

S ome o f th e plays produce d by th e Lake Fore st Players e e e Tr adition Geo e M e t Th e Villae hav b n , by rg iddl on g , by e F e et Pierrot o th e M in u te Art D o o Octav uill ; f , by hur ws n ; ’ Th e F our F l us h ers C e e K ea I n the Pas has , by l av s ink d ;

- Gard en F e S B Pr oducts . M . P t e , by ranc s haw ; y , by J a t r P A H SE O F AKE F EST N S 1 L Y OU L OR , ILLI OI 2 5

n Th t e oice n Far so e O h r V S e W . Pat ; , by yd y i banks ; th e Law Ex tr eme Unction and Tem eramen t , , p , by M rs A t r A S acr ed Gr oun d Giacosa Which . r hu ldis ; , by ; O n e ! Pa B r et AmericaPass es B Ke e , by ul ou g ; y, by nn th A ndrews . T HE PRAIRIE PLAYHOUSE

FRO M G f e gin to alsworthy, rom soddenn ss to beauty, — from a saloon to a Little Theatre this is th e record o f

G e e e e e th e e al sburg , Ill . , a r cord for v r uniqu in constru tive annals of Little T heatre s in the Unite d S tate s ; a

e e G e r o f e f t e r cord that mak s al sbu g proud its l , and o h r

e o f G e o f th e e e p ople proud al sburg , and work don ther

A C f A M e M Ree ee by J . . ra ton , bby rchant , and ark d , thr drama e nthusiasts who made adream come true against odds If genius be an ardor of th e soul then it was noth ing l ess than ge nius to vitali ze th e id ea of a Little Th e

f e W e e atre in a small , indi ferent , somewhat somnol nt st rn

e town , undaunted by lack of inter st , lack of cash , and lack

e Bu e e e e en th usi of a suitabl theatre building . t th s th atr asts made up their minds that Gale sburg needed and

e e e e l et should hav such a th atr , and th y nothing stand in

o f T e e e the way their determination . h y did not xp ct to make money out of th e venture ; but they did expect a chance to try the ir hands at the things each one o f them

T e e e wanted most to do . h y xpect d nothing but a living Th e . ev e wage , and a small living wag at that wer pos — — sessed e ven obs essed by th e idea o f what such a theatre

th e e could mean to a community . It could bring all ﬁn r things of the big city to th e little city whos e population

1 2 6

T HE PRAIRIE PLAYHOUSE 1 2 7 was about and whose powers of app reciation lay

th e e dormant , waiting quick ning touch that just such a

e theatre would be able to giv . Th e only available building for this experiment that

ff e f th e e could be a ord d , in act only ad quate vacant build

be f e e G e ing to ound anywh r in al sburg , was a notorious structure b earing th e paradoxical title of the White

W e H e e e e H ouse S aloon . hit ous it may hav b en call d ;

e but black with evil was its reputation . It had be n a gin

e o f the e e e e e e had plac low st typ , a plac wh r two murd rs

ee e e e e b n committ d , and wher gambling and lic ntiousn ss

ee e - e had b n rampant , a place morally so plagu ridd n that th e f Ye t idea o any rehabilitation seemed inhibited . it is proo f o f th e tremendous powe r o f drama that such a building could be made into one o f th e most lovely Little

T e e be f M e h atr s to ound anywhe re in the iddle W st . Of all miracles wrought by Little Theatre workers this

ee e on e o f th e e f e e e s m d most wond r ul, for it r pr s nts order coming out o f disorde r : upon destruction the ﬁne

e o f ﬂow r construction growing and thriving . Until th e coming o f the Little Theatre Gale sburg was — — a town that s eldom if ever had e ven so much as a

“ ’ one N o e f ﬁrst class night s stand . w the v ry be st o

e e e mod rn drama ﬂourish s in its midst , made possibl through intelligent leade rship and th e awakened public

S e e o f th e pirit dn ss community .

M r . C f e e e o f ra ton is a young coll g man , a graduat

K G e A f nox , which is in al sburg . ter graduation h e acted and taught ; then took a special course in th e drama at

H e h e arvard , wh re imbued two fellow students with th e 1 2 8 OT H ER LITT LE T HEAT RES O F THE W EST

o f T e e G H possibilities a Little h atr in alesburg . e went

G e the to alesburg , s lected only site within reach of the

’ e e th e e trio s sl nder r sources and work b gan .

T e h e e her was everything to do, including t r novation

e th e in of the building, its painting , insid and out , and stallation of its heating, lighting , and stage equipment . The Three M usketeers o f D ramafaced th ese difﬁcultie s with a combined capital o f which sum had to last an entire season and ﬁnance th e plays as we ll as give the theatre its start . The downstairs part of th e saloon was made into a

e charming th atre auditorium s eating 1 2 0 people . It had

e e th e o f a whit woodwork, brown walls , s ats color the w ll , Th carpet and curtains of dark green . e upstairs gam bling hall was made into dressing rooms and busines s

fﬁ e h e . C e e e t e o ces ompl t d , this th atr was plac which , in

. o f M M e e f the words iss rchant , must support its l and ” f e e e e - ﬁve e us . It was urth r decid d to ask s v nty c nts for seats ; to give four pe rformances o f a new bill e very two

The P P th e z e e . weeks , and to call organi ation rairi lay rs

B e e th e T M e esides managing the th atr , hree ! usket ers h f e e e had to train t e community actors , and rom th m volv

M M e e e the Prairie Playe rs . iss rchant was stag dir ctor ;

r Re e M r . C M . ed art and business dir ctor ; rafton leading

B th e e o f e e e e man . etween thre th m th y manag d very

h e T bit of work which went forward in t e th atre . here T was no subscription list . hat is , no one was asked to

Th e be e subscribe for tickets . best that could giv n was

th e th e . set before public , and public instantly responded They not only ﬂocked to the “ theatre but they lent the

1 30 OT HER LIT T LE T HEAT RES O F T HE W EST

M r e . C e e oth r dramatic work, and rafton r main d as P director of the Prairie Playe rs . S o the P r airie layh ous e is n ow owned b th e communit and o erated b the y y, p y

u t comm ni y . F rom th e ﬁrst the policy of th e Prairie Playhouse was

- - e th e f b. E to produc best plays , one act or our act , y uro

S e th e e pean and American authors . inc th atre started it has given ﬁrst productions o f ﬁve plays by American

B th e P e P e authors . esides this rairi layhous wishes to

l ocal e i i foster playwrighting , to giv Ill no s playwrights a f signiﬁcant opportunity for a hearing . O course Illinois

e be e e th e is not the only stat that will consid red , sinc Prairie Playhouse is always glad to consider n ew manu scripts by Ame rican authors ; but for a one - act play deal ing with li fe in the Uppe r M ississippi Valley the Play house offers a pri ze as follows

Th e be st one - act play the Prairi e Playhouse will produce care fully and artistically ; will pay th e author ten dollars per night for eve ry night of production (three nights guaranteed ) ; will reserve no rights over th e play

e th e after production , and will use its inﬂuenc to get play before a larger public . Is there not in your f experience some situation , some event , some amily , which is typical of this s ection of the country ( th e Uppe r M ississippi Valley) and which inte rests you to the extent ” o f your telling th e story in dramatic form ! Th e desire to picture th e li fe o f Illinois truly and dramatically has always been with th e Prairie Playe rs

th e P T e since the foundation of layhouse . h ir ope ning

“ prospectus said : Th e Prairi e Playhous e hopes to be T HE PRAIRIE PLAYHOUSE 1 3 1

n come recogniz ed as a Galesburg institution . In certai citie s o f Great Britain noteworthy results in dramatic “ art have be en achieved under th e inﬂuence of th e little

f f th e e e . C e o th atr s ompani s actors , drawn rom towns e e e ee e e A e p opl , hav b n s nt to n ighboring cities and to m r

e fe e for ica , and plays d aling with local li , writt n these

e e are e th e e th atr s , now widely identiﬁ d with nam s of the

e e e e e th e e citi s in which th y w r ﬁrst produc d, and r sult has been that the se cities have made reputations as cen e o f f t rs art as we ll as o industry . “ In somewhat the same way th e Prairie Playhouse hope s to c reate in and about Galesburg an intere st in th e work o f th e theatre strong enough to assemble a group o f playe rs and to stimulate the dramatiz ation of th e li fe o f T e o f this section . he re is a rich v in dramatic ma te r ial as et e th e fe o f th e M , y untouch d in li Upper issis

f h e sippi Valley . W e have had dramas o t e Golden W st and o f the Great D ivide ; o f th e New England H ome ste ad ; o f the S outhern Plantation ; but no one has attempted plays dealing with th e li fe o f the great corn

e e th e e and harv st ﬁelds , the coal min s , or quaint s ttle

e t th The m n s along e rive r banks of the M iddle W est . Prairie Playhouse s ees in such variety o f occupation and

‘ environment the possibility o f a group of Galesburg P ’ lays .

C P be onsequently , although the layhouse will glad to e e e th e e o f r c iv all original plays with hop producing them, it is particularly desirous o f plays dealing with the life o f e e e this s ction , and promises v ry help that it can give

for in preparing them production . It extends an invita 1 32 OT HER LITT LE T H EAT RES O F T HE W EST

e e f the tion , also , to very one ﬁnding ntertainment rom ‘ stage to co - operate at the little theatre as actors or

h f r e e t e o . F o audience , or as h lp rs in work production

' the theatre in its nece ssity o f representing e very kind o f ” f u for e li e has a se ev ry kind of ability . D uring its second se ason th e Prairie Playhouse began to co- o pe rate even more exte nsively with th e citiz ens o f

G A e M r f t . C e alesburg . Christmas tim ra ton in conn c

’ tion with the Drama League and th e W oman s Club pro d uced a Christmas fantasy which was given free to th e children of the town . A s th e fame o f th e Prairie Playhouse spre ads dele gation s from surrounding towns buy out th e theatre on

e T e e e e ﬁn an c rtain nights . h r is no doubt of ith r its cial or artistic succe ss . Among the plays produced by the Prairie Playhouse have been the following :

1 9 1 5- 1 9 1 6

’ A S l ovs k s W fre H awkbrid e Th e Glitterin t y , by ini d g ; g d A f n A Gate r D S eaP ri e . . C to , by Lo d unsany ; , by J ra , bby M e n t and M ee r r t n Th e Chimes rcha ark R d ( ﬁ st p oduc io ) , ’

i . et M cFadden H er H us band s W fe A . E by Elizab h ; , by T D ad M a e P Pier r ot o the M inu te homas ; , by xw ll arry ; f , Th e Ed e o th e Wor ld A be Hat by E rne st D owson ; g f , by l rt Th Pi eon o n Ga r Th e Bank ton Gilme r ; e g , by J h lswo thy ; — A ccoun t H ar Br D eath A D is cu s sion H . , by ow d ock ; , by

d la E u enicall S eakin Ed ~ Woodruff; O ne Wor P y; g y p g, by ward Goodman .

1 9 1 6- 1 9 1 7

’ awkbrid e Th e R ose l ovs k s W n fre H , At S y , by i i d g ; by

- K n Terribl e M eek C e . e M ary M acmillan ; Th e , by harl s R

T HE E P A H SE O F LITT L L Y OU ST . LOUIS

T H E Little Playhouse of S t. Louis is signiﬁcant as a th eatre of high aims in which th e company is strictly ” All th e e P a e P profe ssional . of Littl l yhous laye rs have

e e e had prof ssional xperience , in such compani s as those

S e M e F Ben G ee of oth rn and arlow , aversham and r t S everal of th e Playe rs are Little Theatre Graduate s

e : e e e e e if one may coin the t rm that is , th y hav s rv d th ir

e e e T e e apprentic ship in the b st Littl heatr compani s , such

P e C th e e T e e o f hi as the ortmant au ompany , Littl h atr C T P T e e e . e cago , and the Littl h atr in hiladelphia hus th y

t P e e e e bring to the S . Louis layhous t chnical quipm nt and

th th e a real knowledge of e workings of intimate stage . When it became known that there was to be a Little

T T e f e S t. heatr in Louis , a Little h atre with a pro essional

e company , applications to join its working force pour d in in such numb ers that it showed clearly how e ager the profe ssional is for a chance to deve lop his pow ers rather

e e than his pocketbook if he can only s cur that chance . It showe d that love of acting as an art burns j ust as

e th e e e o f th e strongly today as it ver did , and that p opl th eatre are e ager to s erve the theatre uncommercially if h only given t e opportunity . It was known that the Little P e S t. e B layhous of Louis could not pay larg salaries . ut this did not deter ahost of actors and actresses from

1 34 F T S 1 T HE LITT LE PLAYHOUSE O S . LOUI 35

F e wanting to join its company . our hundr d applied .

t n e e e M e e B F rom the s e e w r chos n by lvill urke, the

f h P e director o t e layhous .

th e Th e Littl e Playhouse was founded by S t. Louis T S oci ety for th e Promotion o f D rama . hat it has thriven in spite o f th e handicap o f this name is partial

A i e are f proof o f its vitality . mer can audienc s a raid of ” e e e e i soci ti s that promot , and in esp c al wary of socie

e h S for th e ti s that promote drama ! T e S t. Louis ociety

P r o f D o f omotion rama has a board directors , a con

e f e e - ze ting nt und mad possibl by public spirited citi ns , and

t o f Th e e P e e a lis patrons . Littl layhous is sustain d as

e e eu a symphony orch stra is sustain d , partly by small

e dowm nts , partly by subscription . The history of th e beginnings and accomplishments o f th e Playhouse are so graphically given in its pros pectus that one cannot do better than quote in entirety the ff e o icial d claration of its aims .

T th e h hus it is that e S t. Louis S oci ty for t e Promo

o f D a e e o f r o or ma e ee tion ram becam , by virtu a p f d cr o f e z court, a public ducational institution , authori ed , with no e e roﬁt- e xp ctation of p making, to encourag and sup po r t th e w el fare o f the dramaand its allied arts in what e e r ee e Th e e P v way it d ms b st . Littl layhouse company is th e ﬁrst concrete expression o f th e desire o f the soci ety

e S t. e e to giv Louis a th atr , untainted by the vulgarity of th e e e f ee th e e ordinary comm rcial stag , r d from nec ssity o f e e for e e o f making money xc pt xp nses production , and consecrate d to an ideal that demands the utmost in dra matic art . No salaries o f any nature are paid to those 1 36 OT HER LITT LE T HEAT RES O F T HE W EST

h persons in the directing personnel . Only t e regularly

- e e e . e e a ngaged employe s , actors , stag hands , etc , r ceiv

Th o f salary . e actuating desire those responsible for

e f e e em the enterprise has b en , rom the b ginning, bas d tirel the y upon the wish to give community of S t. Louis dramain much th e same terms under which it e njoys

ff th e S e T h e music through the e orts of ymphony S oci ty .

e e e proﬁts , if any, of each s ason r vert to the tr asury for the continuance of those purpos es for which th e society has n z Th e been orga i ed and incorporated . ﬁnancial sys

e - e tem is modern , with detailed accounting, vouch r ch ck h T e l t e . 0 t paym nts , and regu ar auditing of books suppor the society e ither by subscription or by a contribution to the contingent fund is to be sure that whatsoever is give n is devoted en tirely to the cause of the drama in terms M t r . e S of the greatest practical and artistic se vice ak . Louis even more th e community art cente r of America by supportin g the Little Playhouse Company ; it is but contributing its share to th e same end that gave th e city

e th e e ea its exc llent symphony orchestra , and sup rb pag nt

’ in 1 9 1 53

’ Th e Playhouse itself is in abuilding called Th e Artists

Th e e a Guild . e color schem of the int rior is gr y and

’ Th e e gree n . proscenium arch has an opening of ighteen f T e acu r in - but ' n o e . v et h re is , g , low swung balcony ;

The e e boxes . stag is equipp d with a modern lighting

A s P e s ubscri system . the layhous is run entirely on a p tion system no individual tickets can be purchased by

But e the general public . occasional guest tick ts can be

Th e e e purchased by subscribers . pric of s ats is

1 38 OT H ER LITT LE T HEAT RES O F T HE W EST

i e ff e e for lent scen c ects , d sign d the theatre by Victor

Harles . Anothe r original feature of the Little Playhouse policy

e th e e e li s in inter sting annotations on th ir programs . Just as th e Boston S ymphony Orche stra has historical

e e and critical notes on its symphoni s , so also do s the

e P f t e Littl layhouse o S . Louis have explanatory not s concerning its plays , and the movements they stand for . T his is a valuable innovation . If there is any fault to be found with th e Little Play house it is that it has a habit (common to many Little

T e o f for e h atres ) announcing a play production , and th n

e e e withdrawing it , and substituting som thing ls in its

e T on o f th e e o f plac . his irritating habit was e caus s

e e o f th e T o T e B A nd the d mis y h atre in oston . it is to be hop ed that an institution as promising as th e Little Playhouse will overcome this fault be fore it reaches a

e T e e e chronic stag . h r is no sound reason why a Littl Theatre cannot announce its plays for th e season in ad vance (just as a symphony orchestra announces its sym

e e . phonies) , and th n carry out its promis d program Besides its regular pe r formances th e Little Playhouse

’ instituted a series o f children s S aturday morning mati

f e for ﬁ T h e e e ve . né s , giving our p rformanc s dollars aim of thes e pe rformance s was to inculcate a love o f litera

e o f e tur through the spoken word , and a love b auty

f e through th e color and simplicity o the scenes pr se nted .

These performances were well attended . T HE' LIT T LE T H EAT RE O F D ULUT H

T H E e T e e o f D M n e Littl h atr uluth , in , is notabl as the first Little The atre establishe d through th e e fforts o f the D e e rama L ague . It is also notabl for having an able company made up of amateurs and profe ssionals ; five pro fe ssionals and some fi fteen or twenty experienced E f E e . . W . e o amat urs Lac by, London , ngland , an actor o f e fe e e e e e wid pro ssional xp ri nc , is dramatic dir ctor and

e e g n ral manager . Th e theatre was established in 1 9 1 4 . It is housed in what was once an old church ; but it has been remodeled

e e and r d corated to ﬁt theatre conditions .

D of one e uluth , a city hundr d thousand , is out of the

e e e ﬁ rst- g n ral th atrical route , and class productions

few e A - are and far b tween . second rate company in some Broadway success was th e most that its citiz ens

e for ﬁrst- e could hop , with now and again a rat company

e - f h n w e e . O t e e which play d a one night stand th atr art ,

th e e o f e e e e D and tr nd mod rn th atr lite ratur , uluth could

ﬁ rst- e All ze gain no hand impr ssion . its citi ns could

e e e e . do in this r sp ct was to r ad plays , or r ad about plays Under the se conditions i nte rest in th e drama was not thriving . Then came th e idea o f having a Little Th e

r e at , and through its work stimulating an intere st in all th e e e ﬁn r and n wer things o f theatre growth .

T T e e h s herefore the Little h atr was organized . It a

I 39 1 40 OT HER LITT LE T HEAT RES O F T HE W EST

e ﬁ e . sixty supporting memb rs , who pay v dollars a year An d membe rship dues o f th e D rama League at one dollar and ﬁfty cents a year entitl e th e D rama League membe rs to seats at the productions o f o ne - act plays which are give n every month for th e Little Th eatre se ason o f seven

T be e e e h months . hus it will s n that the pric s for t e

T r e e T h e Little heatre ae exc dingly low . e drama has be n

o f th e G e put within reach e v ry slenderest purse s . u st tickets can be purchased by D rama League members for

f h for Th ﬁ ﬁ ty ce ts each any p erformance . e ve dollars of a supporting membe r e ntitles that member to a se at f at all per ormance s . A casual obse rver might suppos e that such rate s would

the en d th e e e work havoc with ﬁnancial of th atr ; but , far f th e e th e T e D rom being cas , Little h atre of uluth has thriven from th e start becaus e it has s et ar t before the

l l e i The e peop e at prices comparab e to th mov es . Littl Th eatre o f D uluth is one of the most ﬁnanCI ally suc

s l T h A nd ces fu Little heatre s in t e Unite d S tates . it is f artistically succe ss ul also .

A f e ee e e e t r only thr y ars it owns its own th atr building, and this without any endowment or continge nt fund to

h e t e . e smooth way It has ho d its own row , and inst ad o f asking favors of its towns folk has bestowe d favors

e e e e ! upon th m , a truly ind p nd nt spirit

e Th e theatre s eats 2 50 p ople . Its interior color scheme

- ne f h f e . o o t e ew is gray , with old blu hangings It is Little T heatres in th e United S tates which make s u se of h T e e fe e e t e drap ed stage . his it us s in pr renc to r alistic

h e e . e an scenery T stage draperi s of v iled blue, which c

1 42 OT H ER LITT LE T HEAT RES O F T HE WEST

Both Granville Barke r and Lady Gregory have mani feste d their keen interest in its progressive spirit and deﬁnite artistic accomplishment . Th e repertory of the Little Theatre is as follows

1 9 1 4 - 1 9 1 5

Th e D ar k L ady of th e S on ne ts an d H ow H e Lied to

H er H us band Ge r e Be r rd S a Th e Tw el ve , by o g na h w ; ’ ’ P d ook n T il l ar r - o - M e oun M . B e O L ad h e W b . , y J i ; p Th u mb Pen n Pr e Th e Wor kh ous e Ward , by and ic ; , by d n re Th e D ear D e ar te ta e H t . Lady G gory ; p , by S nl y ough o

1 9 1 5- 1 9 1 6

Two A te te t P : H er S acr ed D u t b M ar ma ur Con s lays y, y

ret C n B n n an d What I t Gets D own T o . ga ulki an i g, , by

M re ae Wa r Th e L os t S il k H at b r ild d B r shbu n ; , y Lo d

D n Th e I m er tin ence o th e Cr eatu r e Co mo unsa y ; p f , by s

n The M aker o D r eams an Gordon Le nox ; f , by Oliph t

o H oll an d M is tl etoe M ax Pem e rton th e D wn ; y , by b ( ’ r e e a H er H us band s Wi A . E . junio l agu pl y) , and fe, by

Thomas .

1 9 1 6- 1 9 1 7

- ri ess Th e Las t Vis it H e r a Th e Far Away P nc and , by m n ’ el as H us band P M e e r Th e S ude rmann ; H en , by hillip o ll ; ate D a Th e Gr een Coat AI l tterin G , G i g , by Lord uns ny ; by Th e Carrier Pi eon fred de M usset and Emile Augie r ; g , Th e M as ter o th e H ous e S t e by Eden Phillpotts ; f , by anl y l o er o th e A l e O r chard H oughton ; Th e Phi s oph f pp , by

L on es ome - Like Har Br e ; Anthony Hope ; , by old ighous

e o es A r Ben ett an d E ar Kn o a ; M il s t n , by nold n dw d bl uch au o B ath F an c F ree S tan e H o Th e B e f , by y , by l y ughton ; ’ ’ W . onke s P aw W . Co n stance D A rcy M ackay ; Th e M y , by n os ter d n th e N ews Gre r ; Pater , Jacobs ; S pr eai g , by Lady go y

M oond own h ee . by F rancois Coppée ; , by Jo n R d T HE W ISCONSIN D RAM AT IC SOCIETY

T H E D e d Wisconsin ramatic S oci ty, sometimes calle the

W P e ze 1 1 1 isconsin lay rs , organi d in 9 , is a company of

f e e are e gi t d amat urs , who imbu d with the vital prin ” ci le o f Th r i m T e e d p Little eat e s . h y b lieve in con ucting skilled amateur companies for the production o f high ” T e e class plays at low prices . hey wish to cr at a demand for a bette r theatre and a more enlightened audience . Also they wish to give the native playwright a hearing ; and to furthe r repertoire . There is something stimulating in th e very name of

M T e h e e this society . any Little heatre groups tak t nam of th e town or city as their patronym ; but the name o f Wisconsin D ramatic S ociety suggests a whole state in h h action ; a whole state working for t e good of t e cause . Acting and producing is only a part of th e Speciﬁc

e o f the purpos society , which is as follows “ F irst, to raise the standard of dramatic appreciation

the in community . S h t e . econd , to encourage the support of best plays T hird, to encourage the reading of good plays in E nglish , and in translations from other languages . “ F e th e ourth , to encourag translation , composition , and publication of good plays . F ifth , to conduct companie s for the production of ” - high class plays at low prices .

1 43 1 44 OT H ER LIT T LE T HEAT RES OF T HE W EST

This last part of the work naturally is of the greatest

e e e o f th e e T e e int r st to stud nts Littl h atre mov ment .

Th e e e M Be soci ty has giv n productions in adison , loit , and

M ee e e ilwauk , and as it has no th atr plant, rents local

e e th e T e th atr s for occasion . h y use only the very sim l est e e . ee e ex e rimen p sc n ry Ind d , they att mpt no scenic p tation e e e e e e e e e the what ver, pr f rring to c nt r th ir n rgi s on f A acceptable acting o the plays . long the se line s all the ir

r T e for e exp eriments ae made . h y work loquent panto

e e e for e e e e mim , cl ar nunciation , and t mpo in ns mbl play

T o - fe e e ing . turn out s emi pro ssional groups quipp d to give plays th e public would not ordinarily see is th e aim

th e - h An of play producing department of t e society . y thing that smacks o f theatricalism in acting will not be

e e e e P fe D th e tol rat d by ith r ro ssor ickinson , who directs

M M rs S e th e M il adison group , or . h rry , who directs

A s far 1 1 e f r waukee group . back as 9 1 these work rs o

‘ the drama decide d that no play under their dire ction would countenance the old system o f spotlights or a

- Th e W D S e built up e ntrance . isconsin ramatic oci ty eliminate s the orchestra ; will not raise th e curtain in

T e e e answe r to curtain calls . h y do v rything in their

T e e e . pow r to fost r illusion in acting hey may, in tim ,

th e A rt T e e o f M elimi go as far as h atr oscow , which f h nate s applause as breaking in upon th e mood o t e play . M any pe opl e e rroneously beli eve that th e W isconsi n

Playe rs are connecte d with th e Unive rsity of W isconsin . l E But e the Drama uar ter W . . as an articl in Q y , by

e the W D S is L onard , points out , isconsin ramatic ociety f not an academic organi zation . It has no of icial relation

“ 1 46 OT H ER LIT T LE T HEAT RES OF T HE WEST e e o f e M r s ri s plays every month und r the direction of s .

Laura S herry . Plays produced by the Wisconsin Playe rs since 1 9 1 5

‘ N ei hbors Z aG e Gl or o th e M ornin g , by on al ; y f g, by I H it l W E . eo r o H n a n s a b T . D on R illiam L n d ; p , y . icki s ; y l n T D u t o t d ad o a W . S even s h e R oa Ke n , by h m s t ; f , by n t Goo man Tr adition b eor e M ton A e . G e s h S d ; , y g iddl ; You t i l l D o I b . K n n t H al Ce n tra . B e C o e , y I i ; y , by L uis B ra Las R ur al es D rot eaM a e Th e A r chae nd ; , by o h ss y ; ol o is t and th e Lad b M ae M a e Th e Talker b g y, y b l yh w ; , y l A B ranch H o an e Th e Val e . S . Cro e wl d Russ l ; y , by R w ll ; R oad H n Gar an Th e F eas t o th e H ol I nn o , by amli l d ; f y cen ts an d I n aVes tibul e b M ar a e O n th e P ier , y sh l Ilsl y ; , ’ R omance Ambition and Jus t L ivin b araS e rr A , , , y L u h y ;

ovin P ictu r e B u rl es u e b M at e C rm e A B lin d M g q , y h w a l ;

Wife an d R ich P oor M an b Wate r M or e Th e To az , y l l y ; p S teven an d Waae e Th e A mu l et T a W . , by hom s s ll c Ric ;

Li h t o D ecenc C ar e M e rce in Th e M on Wh o M ar g f y, by h l s ; ried th e M oon C r otte M ar a B u bbl es An n a , by ha l kh m ; , by

ad r c D ead S oul A t n S on O r an e H e m ste B an h ; , by us i im s ; g

B l oss om P C o et an d Th e F in er o God , by hillip s hyn w h ; g f , by Per cival Wilde . CHAPTER VII

O THE R LITTLE THEATRE S O F T H E WEST ( Con tin u e d )

T HE ART S AN D CRAFT S T H EAT RE O F D ET ROIT

T H E Arts and Cra fts Theatre o f D etroit was founded

N 1 1 Th e e f th e A e e 6. e in ov mb r, 9 th atr itsel is in rts and

C f the eao f th e e e ra ts building , and id th atr has grown

o f th e th e A C S e out work done by rts and rafts oci ty,

“ th e e f e th e e e which aims at training of tru cra tsm n , d v l Oping o f individual characte r in connection with artistic ” th f Th e o . e work, and raising standards of beauty building and the theatre within it are owned by the Arts

C S e e e and rafts ociety, and the theatr is ntir ly ﬁnanced

th e by society . I t 15 j ust such a building as should appropriately house an art th eatre with its quaint stucco exterior and

e e Th e e e its dorm r d and gabled roof of tiles . th atr opens off a paved court that is lined on each side with little

A C e e f rts and rafts shops , ﬁll d with pott ry, dyed abrics

hue - e e rich in , hand wrought jew lry, and hamm red metals . The Arts and Cra fts T he atre is the only Little T heatre in the United S tates that is run in connection with an art . Sam H th e o f the e guild ume is régisseur theatr .

The he theatre itself has a very satisfying interior . T

1 47 1 48 OT HER LITT LE T HEAT RES O F T HE W EST

ﬂoor of the auditorium consists of ase ri e s of raised plat

on T e e on forms which chairs are placed . h r is a balcony t ee e o f th e e e i Th e e e hr sid s th atr auditor um . th atr chairs are upholstered in vari - colored satins ; the proscenium

' arch is square ; th e proscenium curtain falls in digniﬁed

e f Th 2 0 . e and swe ping olds theatre seats 5 .

T he e M r H e e e . th atr company is ntirely amat ur . ume

in T o believes a very strict standard of acting . w hun dred and ﬁ fty actors w e re tried out be fore th e ﬁnal sele c

o f 1 e e tion was made . Out these 50 wer chos n to appear as principals or in minor parts . T h e Arts and Cra fts The atre is run on the subscrip

n e Th e e r for tio syst m . s ats ae and public

’ e e F at . S p rformanc s riday is subscribers night , and on urday afternoons the re are matinée s for teachers and

S ix e e pupils at reduce d rates . performances wer giv n

th e o f 1 1 6- 1 1 th e during season 9 9 7, including dedicatory

e N on e - e p rformance . ineteen act plays were giv n by this

e e e F or 1 1 - 1 1 8 th atr in its ﬁrst s ason . 9 7 9 six produc

e tions will also be given . S ubscription tick ts will be

’ ’ for each season ticket ; students and teachers tickets will be obtainable for A S supplementary productions the theatre committee is considering a chil

’ dre n s bill to be pre sented in the holiday season .

The ﬁ rst ' s eason of the Arts and Cra fts Theatre was

T e e a success ﬁnancially and artistically . her w re no

m was for debts , and a s all balance carried over the fol lowing year . The policy o f th e Arts and Cra fts Theatre has been to produce revivals of old plays of literary signiﬁcance

ART S AND CRAFT S T HEAT RE O F D ET ROIT 1 49

’ such as M oli e re s D octor in S pite of H ims elf and the

o f A braham and I s aac ancie nt English miracle play , as

e D well as plays by mod rn authors , such as unsany,

H H B e . t. S John ankin , and arold righous

In th e season of 1 9 1 6- 1 9 1 7 more plays by Europ ean A authors we re given than plays by merican authors .

f e h o f th e e ee a e e e In act , only ig t nin t n pl ys produc d w r A S ham f F b e . y m ricans One native play , , a arce by rank

F r th e e T . o ompkins , had its ﬁrst production r st , the plays were all plays that had b een previously produced and were more or less familiar to Little T heatre audi

n e ces throughout the country . Next year the Arts and Crafts Th eatre hopes to give

n ffe e ze o f 1 more ew mate rial . It has o r d a pri $ 00 for a play written by a resident o f M ichigan and suite d for h A F production on t e rts and Crafts stage . ifty manu B scripts have been received in this competition . esides this play the theatre hopes to produce at least six new

A e e e plays by m rican authors , giving th m th ir ﬁrst hear

T e e e et ee an ing on any stage . h s plays hav not y b n n ounced ; but among the plays which have be en tenta tively chosen for production in 1 9 1 7- 1 9 1 8 are : A riane and Bar be Bleu M e M e Rid ers to th e , by auric a terlinck ;

S eaB M . . S The P eo l e S G e , y J ynge ; p , by usan lasp ll ; A rms and th e M an Be S Th e Th eatr e o , by rnard haw ; f th e S oul N Evre ino f The H omecomin , by icholas ; g , by

K S Go Wee in Pier r ot and enneth awyer odman , and p g

Lau hin P ierr ot E R g g , by dmond ostand , with music by H Jean ubert . The scenic work o f this theatre is extremely inter 1 50 OT H ER LIT T LE T HEATRES O F T H E W EST

H M r . e . sting ume , the director , is favorably known as th e originator of th e S tage Exhibit which was s een sev eral years ago in most o f th e large citi es of th e United

H for h e ff S tate s . e is also known t excellent scenic e ects h e e th e W T e e C e d vised for orkshop h atr , ambridg , many h of which have bee n repeated during t e season in D etroit . 1 M r H h e G C . e b e e t e Lik ordon raig , um is a ﬁrm eli v r in type of scene ry that is made possibl e through th e u se o f

e e e e squar s , cub s , and cylind rs us d against a ﬂat back

e e ground , and ﬂood d with whit or colored lime Th A f lights . e rts and Cra ts The atre has a back wall of plaste r something similar to th e plaste r hori zont o f th e N P A e ighborhood layhouse . gainst this background th ese portable blocks or pylons are arranged to give th e e ffect f o e e . C e ew ee palac s or walls or stately gard ns lipp d y tr s ,

e th e ee o f S e e ﬂow rs , or sw p a pl ndid curtain may l nd a

o f T e e note color and warmth to the se cube screens . h s

’ e r ff M r H e cub s and pillars ae most e e ctively us ed in . um s

’ s e tting for H el enas H us band and for a harlequin fan Th f tasy . e use o the s e portable cube s is ve ry popular abroad but th e Arts and Cra fts Theatre is th e ﬁrst Littl e The atre to make continual rath e r than a sporadic u se o f

e th m in this country .

W e one e e th e h n consid rs the dignity and b auty, sug gestive styliz ation made possible through th eir u se it s eems a pity that oth er Little Theatre s do not ex pe ri

e e e e e are m nt in this lin , sinc the cub s and pilast rs in e e e xp nsiv and can be used again and again , though it

F or afull d escrip ti on o f h ow Go r don Craig c ame to origin ate ’ th i s ty p e o f scen ery see Huntly Carter s Th e Th eatre of M ax R einhardt ae 0 , p g 3 0.

1 52 OT HER LITT LE T HEAT RES O F T HE W EST

H m Th e R oman ce o the R os e S am H e ous an ; f , by um ; Trifl es an d S u r es s ed D es ir es S G Th e , pp , by usan laspell ; ta L ove n H octo i S it o Cons nt r S t. D r n e , by Joh ankin ; p f H ims elf M ere A braham and I s aac Th e R eves b , by oli ; ; y ’ S w or d Pla L ones omelike b H r Br e H el enas y ; , y a old ighous ; H us band P M el e Th e I ntr uder M e e , by hilip o l r ; , by a t r linck . T HE PLAYHOUSE O F CLEVELAND

F RO M th e work mapped out on its prospectus it appears that th e Playho use o f Cleveland will strike a new note

e T e for - f in its Littl heatr , which a small old ashioned church on Cedar Avenue is being remodeled . Work will

1 1 B th e begin the re in the Autumn of 9 7. esides plays

th e P which will be given there by layhouse company,

e e f h o f s l cted rom t e most gifted amateurs the city, the Playhouse will also O pe n its doors to th e divergent nation alitie s o f its city for rehearsal and performances of plays in their own tongue, with settings that will give a chance for e e broad d v lopment in folk art, and that will help to

e e f cons rv olk traditions . N0 Little Theatre group has laid its plans with greater

the P e e e vision than layhous group , whose loquent littl

e e o f e e e fold r, adorn d with a picture th ir futur th atre, sets forth the ir plans as follows : “ A group o f m en and wome n in Cleveland formed th e Playhouse company in 1 9 1 6 for the purpose of establishing an art theatre ; of encouraging native art in all its forms and native artists ; and for cultivating the rich legacie s in folk art poss essed by our cosmopolitan T population . his group consists of artists , of musicians, e e e are of thos whos inter sts sociological , of those who have aleann toward the lighting and mechanics of the

1 53 1 54 OT H ER LITT LE T HEAT RES O F T H E W EST

e stag , toward acting , toward writing, and toward con

f r e structive activiti es o childr n . Th e n ew the atre will be an art theatre aiming to pre s ent on its stage productions in th e modern spirit both

D th e h e as to acting and decorations . uring e past y ar t

P e e e e e e layhous has pr s nt d to its memb rs ight plays , of which one was by mar ionette s and one was in shadow

T e e f e e e e graph . h se p r ormanc s have be n privat becaus th e Playhouse in its temporary quarte rs did not have an

f r h E e e o t e . auditorium ad quat public xhibitions , also ,

e e e e hav be n h ld by the paint rs , sculptors , designers , f h e o t e . danc rs , and musicians group Although th e Playhouse will sympath eically endeavor

e e th e e f- e o f e e to ncourag s l expr ssion its memb rs , it r cog n iz es C e e that l v land is cosmopolitan , and that it contains

e o f e e a w alth div rg nt national art and traditions . T o this end the th eatre will offe r itsel f to the groups o f e th e e varied nationaliti s in city, as a place for m et

for e o f f re ing , xhibition art and cra tsmanship , for h earsal e o f and performanc plays and music . D uring th e year a cosmopolitan committee has ac quainted itsel f with cosmopolitan groups with th e vie w o f e e e th e bringing th ir xhibitions , conc rts , and plays to

P e layhous as soon as th ere is a prope r stage . Wh en complete d there will be a stage o f ample dimen

e 1 0 e sion , an auditorium which will s at 5 p rsons , and

e r such oth r accommodations as ae n eeded .

“ It is apparent that such a theatre will not be self

Th e e e be supporting . xpens will met in part by dues

e T o t not to be paid by the activ members . hose who are

T HE LITT LE T HEAT RE O F LO S ANGELES

W H ILE the Little Theatre of Los Angeles no longer

th e e th e e T e th e exists by nam of Littl heatr , work done there in 1 9 1 6- 1 9 1 7 by Aline Barnsdall and her group of players will be carried on e ither in Los Angele s or S an

- o th T F rancisco in 1 9 1 7 1 9 1 8 . S e Little heatre produc tions of 1 9 1 6- 1 9 1 7 have a deﬁnite b e aring on th e new

’ Little Theatre company which is to be called th e Players

T e e Producing Company . his th atr is to be distinctly an

Th e art theatre , with a professional company . plays will be e e e produc d in this home theatre , and then , lat r, tak n on th e road and pres ented in th e smaller citi es o f Cali ‘ W a C f fornia . hen play that is distinctly ali ornian in

e e e e them and investiture has be n d v loped , it will prob ably be s e nt to several Eastern citi e s as an example of P Th what th e Players roducing Company is doing . e

e A rt T e e e e th e Littl h atr , howev r , will r main producing cente r .

T e e his is its genuinely interesting d ﬁnit policy, laid

- — down for 1 9 1 7 1 9 1 8 afar more de ﬁnite policy than

' that which governed th e season o f Los Angeles 1 9 1 6

1 1 e e e e 9 7, wh n a group of totally unr lat d plays was giv n , ’ beginning with Ossip D ymow s neurotic Nj u and e nding

e E ver man e e Ge e with a garbl d edition of y , r writt n by org

’ e h o one e S S . W t rling ( will, wonders , rewrit hakespeare s R omeo and Juliet at some late r date !)

1 56 T HE LITTLE T HEAT RE O F LO S ANGELES 1 57

M iss Barnsdall will be remembered as the produce r

’ o f Alice Gerstenberg s dramatization o f Alice in Won d erland e f e N ew , most succ ss ully giv n in York and other

e ee f e T was citi s thr or our y ars ago . his production

e e e e m morabl for its un rring casting, and for its d light ful whimsical scene ry design ed by a Chicago artist whom ” M B e iss arnsdall discover d . F or h e r Los Angeles Little T heatre venture M iss

B e e N Bel - G e arnsdall wis ly chos orman edd s , whose orig inal de corative ideas are widely known to stude nts of art

r H e e e e e in this count y . volv d some xtraordinarily int r e e for th e e T e e for N n sting s ts Littl h atr , notably i and

’ fo r Z oe A Paa osteres ue ff kins p , the latter having p q e ects an d a s ense o f pattern that made th e scenes memorable . H e caught exactly th e gay inconsequential spirit o f the

R r ki h e o f piece . ichard O dyns was t e dir ctor the Little

T e h atre . T he company o f the Little Theatre was made up

f W e partly o profe ssionals and partly o f amateurs . hil

l ed the A nn A re this to discovery of nd ws , a young

C r e o f e e alifo nian amat ur ability, who has sinc join d th e o f th e fe e M B f e ranks pro ssional stag , iss arnsdall e ls that to have a company o f s easoned pro fessionals and

e utt rly untraine d amate urs is a thing not to be repeated . The sure touch o f th e ve ry expe ri enced p r o fe ssional shows th e ve ry unsure touch o f th e inexperi enced ama teu r T . f his is an interesting act . It shows that where a Little Theatre company is to be made up o f amateurs

fe th e and pro ssionals , amateurs must be potential

s artists , killed in their craft, or the discrepancies will be 1 58 OT HER LITT LE T HEAT RES O F T HE W EST

e e e re th e e T e e too gr at , as th y w at Littl h atr in Los

Angele s .

Th e e th e e T e e e N u plays giv n at Littl h atr includ d j ,

D mow R e for th e e by Ossip y , a ussian play giv n ﬁrst tim

P aa Z oe A A e in this country ; p , by kins , an m rican com ed e for th e r e e Cons cience a y , giv n ﬁ st tim on any stag ; ,

one e T f r Th e S u er S cene play in act, by Ow n a t , J . ; pp

r om A natol S z e r Th e S had ow Waters f , by chnit l ; y , by ‘

B . M l r d r W . e rs H o o H . D e e C Y ats ; . y , by . Lawr nc ; h ist

ee e o f Th e R e tu rn o P ros er in e mas w k matiné s f p , by

F e e K e F E ver man lor nc ipp r rank , and y .

C be on e e omparisons may odious , but to who r mem

’ bers th e poignant simplicity o f Ben Greet s production o fE ver man th e r e e r o f Ge y , o nat costum s and cu tains orge

’ S terling s revamping o f that anci ent tragedy o f th e soul marks th e ve ry elaborateness that th e Little The atres of

r today ae trying to do away with . U ndoubtedly M iss Barnsdall will do much that is

h r n h er f as worth while in e ew art theatre . It was gi t

e e e th e th e f a produc r which mad possibl charm , ragrancy, T the pe rfe ct e nsemble o f A lice in Won d er land . hat was

e e e A nd for a tru achiev m nt . one can wish the Little A rt T heatre o f Cali fornia no be tter luck than to have M iss Barnsdall guide its destinies as skilfully as she

i e guided the destin es of Alic .

1 60 OT HER LITT LE T HEAT RES O F T HE W EST

s aS ple, seating about person , but with hallow stage

e Th and inad quate dre ssing rooms . e society is sadly in

ee i I ts n d of a proper place to g ve performances , Indian l i ap o s having no small theatre with an ample stage .

A s th e e e are to price of seats , m mbers of the soci ty give n a certain numbe r of coupons for th eir s ubscrip T e e e . o tions , so that s ats cost th m about ﬁfty cents ach th e gene ral public a charge of one dollar was made at

e e - five first , but this was soon dropp d to fifty and tw nty cents , according to location . W e have a subscription list of some 2 0 0 p ersons who constitute th e membership o f th e soci ety . The players are mostly amateurs with an occasional

e fe e e retir d pro ssional . S veral who began as amat urs

e e hav graduated to the professional stag .

S o fﬁ th e e far as di culties go , the backers of und r taking have had to make their bricks without the straw of

e e e e e either a proper plac to giv th ir p rformanc s , or a

e f But public more than mildly interest d in their ef orts .

e they mad bricks just the same . Th e membership is

E e e e ach m mbership is entitl d to tw lve coupons , which

n l T he may be pre sented singly or e b oc at performance . society also offers a combination membe rship with th e Indianapolis Cente r of th e D rama League for whereby a membe rship in that organi z ation is given for

e T e one y ar along with a Little heatre memb rship , carry ing with it ten coupons . Th e purpose of the Little Theatre is to encourage

new the production of plays , plays which cannot be pro T HE LITT LE T HEAT RE O F IND IANAPOLIS 1 61 d uced th e e by commercial stage, either b c—ause of their content or lack o f commercial possibility in short to encourage all community endeavor of an original char

Th e e T acter in the ﬁeld of th e theatre . Littl heatre calls particular attention to the fact that two of the plays listed here have neve r be en produced on any stage and that — these two plays are the work of Indiana men W . O .

B e T e e D e e at s and h odor r is r . “ P ll ’ B i P u u . s o o o e s R n W . y f g , by O ates , a drama ' o f Indiana in 1 863 in the tense moment of the historic

‘ ’ ’ battle of Pogue s Run . It is Indianian throughout .

M ul rove C e orton , S g , and oburn are , of cours , historical , Th and eve ry incident has historical basis . e production o f e th e z G this play is a st p in trail bla ed by Lady regory , and—follows h er ideals as worked out at the Abbey The e a o f the e atr play locality, written , design d , costumed,

e and play d by the community itself .

Lau hin Gas T e e D g g , by h odor reiser, was produced as

e e e M an xp rim nt . any critics asserted on the publication

’ o f Theodore D re ise r s P lays of th e N atural and the S u per natural that it was impossible to produce Laughing Gas h . t e It is story of a man who is operated on , and what h e meets in th e realm of unreality while the opera R tion is actually going on . umor has it that D reiser

e wrot this ﬁrst as a motion picture scenario . Certain itis that it is typical o fthe modern art theatre movement in its b e o f t T pro l m rhy hm . hose who are familiar with the discussion which Gordon Craig and others have raised as to what is possible in suggestion will ﬁnd food for addi tional n The e T a discussion in this productio , Littl he tre 1 62 T H E TT E T HEAT RES OF T HE O R LI L WEST, — in Indianapolis stands for experiments of all sorts as a

e e for e laboratory stands in m dicin exp riment . The set D D h o f M r . o ner M r ting is the work onald and . H arri

B e e e th e son rown , and is an xp rim nt in suggestion o f th e

f M r rl o . O o motion reality . pp has an e xpe riment in

ff T are e e . o e e e new e fe light cts thos who int rest d in f cts , ” h e F t e e . or s trial is of particular int r st ( illustration , ee page Th e repertory o f th e Little Theatre S oci ety has been as follows

1 9 1 5- 1 9 1 6

P ol x ena aate fro th e H ecu baof E e y , d p d m uripid s , by A i i . l li T an l n S . ot r A K n r e or a in E . e e li , J ; g g , igi l burl squ an to e at or n ot ann o e Th e Glitterin Gate p mim , u h unc d ; g , by n n Th ch emin ieu ten ant S e r o r D a e S L . B . L d u s y ; g , by R h i dan D ad or n a om e o f H o e r fe M a e ; , igi l c dy o si li , by xw ll

Par r Th e P aean t o th e S h earme n an d Tal ors a y ; g f y , A r Th C r M r c e a aate b S . . E t . e h istmas i a l pl y, d p d y lio , J ;

P r e tt S abin e Wome n b e n An dre eff Th e B r oken y , y L o id y ; God or n a a e on th e war H rten s e F e e r , igi l m squ , by o l xn ; ’ ver tones A e Ge r ste rn be r Th e F l oris t s S h o O , by lic g ; p,

n fre H awkbrid e Th e Game o Ch ess Ken by Wi i d g ; f , by r G o an H ow H e Lied to H er H us band n e th S awye o dm ; ,

r a Th e D ar k Lad o the S on n e ts by Be rn a d S h w ; y f , by

ar S a D awn Pe rc va W e Th e Kiss es B e rn d h w ; , by i l ild ; o ar orie Boot Tar Chi cane ate fro fM j , by h kington ; , ad p d m

Th e Gr oove Ge e M e n . Jack Lo ndon ; , by org iddl to

Th e s eason concluded with a commemoration of the

’ T e rcentenary o f S hakespeare s death at which brie fscenes from seve ral o f his comedie s we re given by the full com

1 0 0 . D pany, some in number uring this season some

was collected and expended .

T HE LITT LE T HEAT RE O F KANSAS CITY

T H E H arlequin Players o f the Little Theatre of Kan

C Kan e e e 1 1 Ann Pe . sas ity , , w re stablish d in 9 7 by ppard Their director is Charle s Edwards and he has under him

e z ff a complet ly organi ed theatre sta , including ﬁve pro d ucers Th e e are T . sc nic designs of this theatre by heo

M Th e e T e e e C . dore . riley Littl h atr company is compos d — wholly of amateurs very ambitious amateurs if one may judge by the policy outlined on the ir gray program with

Th e its bowing harlequin ﬁgures . outlined policy run s thus W e wish to be considered apart o f th e Little Th e — atre movement in th e United S tates and that movement

e e means , we tak it , not a quarrel with the theatr as it is ,

W e but an objection to the narrow scope of it . want ,

e e in short , not l ss but more of the comm rcial drama

e more , not in quantity but in range . It is in ord r to supply this range that groups of people all over the coun — try people not necessarily closely connected with the

e e e stage as it is , but int rested in xp rimental trials of new

e e at kinds of plays , scenery, costumes , and uniti s , hav tempted in a pure amateur spirit to give vent to their ideas and aspirations—though not always with amateur material . B O ur ﬁrst object is to amuse . ut we believe that e ven those of you who love the theatre best s ometimes feel a

1 64 T HE LIT T LE T HEAT RE O F KANSAS CITY 1 65

e need . It is as if an intelligent reader, doom d to spend his li fe in a library ﬁlled only with books of detective

e e e e stori s , crook stories , ternal triangl stori s, society

e e o f e e th e stori s , stori s court sans , and stori s of great

N e for e e orthw st should long, one brief v ning , to read

few e Ke G H a pag s , say of nneth rahame or of omer, or

o f F C . laubert , or of Lewis arroll An other o f our objects is to crystallize dramatically h e e e f h t e . o t e local sc n Inst ad familiar comic cockney, is it not possible to have a comic Kansan ! Instead of drawing- room conve rsation in th e great hall of th e D uke

’ o f D e e we e wlap s castl , can not hav something equally racy in a similar apartment on Armour Boulevard ! These we believe legitimate objects and to them we subscribe our hands and hearts

T H E H ARLEQU I N PL AYERS .

It is interesting to note that a play of Kansas life has

he B ull F e e e : T . G alr ady be n giv n y, by James oodman , with its scene laid in th e mining district of S outheastern K ansas . Among the plays produced by the Harlequin Players

e The P rice o Or chids W f e H hav been , f , by ini r d awk ’ H elenas H us band P M The S he bridge ; , by hilip oeller ; p h erd ih the Dis tance H H Th e Bull , by olland udson ; . y , f a F . G . a orementioned , by James oodm n HEAT F T HE T T E T E O E E PENN . LI L R RI ,

Th e L e T e e E e Pe n a ittl h atr of ri , n , is thriving insti

i n f h i tut o . It ollows t e note dominant in so many expe r

e e T e e e it e e th e m ntal Littl h atr s today, nam ly , str ss s work A o f American authors . mong the dramas that it has

e e ee D awn A H ous e o Cards Th e produc d hav b n ; f , and

N obl e L ord Pe W . , by rcival ilde

T T E T H EAT E O F B KV E PENN . T HE LI L R ROO ILL ,

e T e e o f B e Pe n Th e Littl h atr rookvill , n , is another small and promising playhouse which has feature d the

r W e ee e same plays by M . ild that have b n giv n in the

e T E Pe . Littl heatre of rie , nn

CHAPTER VIII

T H E LITTLE THEATRES O F T H E SOUTH

T HE VAGABOND T HEAT RE O F BALT IM ORE

’ T o some readers th e name of Baltimore s Little The

The atre , Vagabond , may suggest a group of players who travel about the country acting ﬁrst in one place and then — in anothe r after the manner of some of the journeys of th e P T e But ortmanteau h atre . the word Vagabond in this instance is meant to suggest untrammeled freedom

e The of mind rath r than a roving foot . theatre is sta tionar S e S a y ; but its pirit, lik the pirit of the true vag f ee e . bond , is r , xperimental , eager On th e cover o fits large square program of heavy gray paper there is the picture of a ﬁfteenth century vaga

F - A bond , rancois Villon ish in his aspect . cap with a feathe r ; a debonair and tattered tunic ; the famous bundle and stick without which no vagabond can pass muster

e - u i th se complete his make p , and consp cuously carried with th e stick and the bundle are th e immemorial masks f o tragedy and comedy . On th e back page o fth e progr am is printed the avowed

z hope and purpose of the organi ation . Th P e Vagabond layers is a group of artists , actors, and authors interested in stimulating and developing new

1 69 1 70 TH E LIT T LE T HEAT RES O F T HE SOUT H

o f and artistic methods producing, acting, and writing for the American stage and especially in introducing to th e Baltimore public those newe r ideals which have lately — become an intrinsic pa r t o f dramatic aspiration princi

f f e e e e e pally reedom and r xp rim nt . Th e intention o f th e Vagabond Playe rs is to produce new works by American authors and important plays o f fore ign writers that would otherwise not be seen in B altimore .

“ A Th e e dmission will be by subscription . pric is for one and for two subscriptions for th e

A n r season . subscription admits th e holde r to o e pe forman f ce o e th e e e e . ach bill , sam night v ry month

S are e are e e e ubscriptions op n to all who int r st d , and

be h may obtained upon application to t e treasure r . S ingle seats may be had at th e request o f any sub ” e th e e e scrib r upon application to tr asur r . Location always adds its quota toward a Little Th e

’ atre s success ; and th e Vagabond Theatre is most happy

’ S ee e e e . W e Ce e in this resp ct It is in st nt r tr t , a p bbl s f M throw rom historic onument S quare .

Be f e e e e e e ore b ing r mad into a th atr it was a stor , though it has become so splendidly metamorphosed that

one e i z i no would ev r recogn e t. It is on the ground f h e e t e ee . ﬂoor , and is ent red dir ctly rom str t Th e interior of th e Vagabond Th eatre has been d e

’ M S ax signed by on e o f the theatre s directors,Carol .

- an t D artist whose scenic designs for Ruth S . enis

h T in are among the best s e has had so far . his terior th e F e T e carries out rancois Villon id a . hat po t

1 72 T HE LITT LE T HEAT RES O F T HE SOUT H

e e e f But culate carefully . It must have m rg ncy unds . the Chicago Little Theatre with a s eating capacity o f ninety is able to place dollar seats and ﬁfty cent seats be

the are e C fore public, even though rents high r in hicago

e Th than th y are in Baltimore . e ve ry people whom a — Little Theatre ought to reach an art public slim in — purse but large in vision are by such price s d ebarred from the vistas that a Little Theatre might open for ’ Th e An . e th m . d it is not only these pe ople who lose theatre itself loses one of the essential things that makes

e T e — e it a Littl h atre its democracy . It b comes a clique

T ne theatre . his is the only fault that o can ﬁnd with

Th e Vagabond Theatre and its many e xce llencies . Its

A M r ax o M rs N . C S . e directors , del athan and arol , w rked valiantly ﬁrst to arouse interest in th e Little Th eatre ide a

B e th e e Th e in altimore , and secondly to stablish Littl

e d ue atre after interest had been s ecured . It is larg ly to the ir efforts that the re is a Little Theatre in Baltimore . Baltimoreans are to a gratifying degree repre sented

h T B e in T e Vagabond h eatre work . altimor has long

A o f e been the W inter home of many merican artists not , and several of these have given gene rously of their time

e W e rich e and work , among th m Joseph y , who d signed

th C e W e A M err D ea . the scenery for y lementin alk r ,

R S Be are e e aymond ovey, and Oliver ll oth rs who hav

Th e B e done scenic work for Vagabond . altimor play

M e wrights are represented by Henry L . enck n and

’ A h e Th e A r tis t M rs . N T e dele athan . form r s play , , was given an early production at Th e Vagabond ; and The ’ — Vagabond s single effort at pantomime The S ong of T HE VAGAROND T HEAT RE O F BALT I M ORE 1 73

S ol omon A e N th e , by d le athan , was rich in colors

h E T The T e e e e o f t e ast . hus Vagabond h atr xpress s th e e art- e o f th e of B an nativ impuls city altimore, and y

e e t e o far e th atr wi h such b ginnings is bound to g . It do s not rely altogethe r on outside forces ; but draws its forces f e f e for rom within its l , a thing that mak s permanence and

t e o f s ability . It go s without saying that the company

P e are B t e o f e Vagabond lay rs all al imor ans , some th m

e e o f ﬁn f poss ss d a e degree o talent . N o one connecte d with th e theatre rece ives a salary

e th e e e e T e e e o f sav stag carp nt r . h r is a larg corps work ers and as Little Theatres go the perman ent cast is a

one T e e are e e be large . h r at l ast thirty peopl who can

e drawn upon at short notic . T he Vagabond Theatre devotes all its e nergies to pro

h n - e d ucing t e o e act play . Long r plays are not given as

T e n - e e Th et. e o e e y hr act plays an v ning is the rule .

e N e 1 1 6 The Ar tis t op ning bill , ovemb r, 9 , consisted of , M R T land . H . e e W S e by . L nck n ; y , by hos ood tev ns and

K G i A M e r D eah N e e S . r t nn th oodman , ar d y , by icolai

E rieno f th e v . In latter play the austerity of the new

e ar t fe stag was mani st . Th e whole scene setting of Ryland was worked out in

e e f e The gray and mauv with touch s o whit . prison walls we re cold gray ; while the e ighteenth century costumes o f e e - e n the actors w r orchid lik in color , run ing through

e o f e T a scal lavend rs and purples . his scene setting was

e e M . d sign d by Carol S ax .

A M err D eath th e e T In y walls again w re gray . hrough orw w e m ueeij bo like a quaintly shaped do ay er gli psed g _ x_ 1 74' T HE LIT T LE T HEAT RES O F T HE SOUT H

e e A e tre s against a y llow sky . bright orange table ; som three - legged gray stools ; a narrow orange - colored four post bed with a canopy of black and white cubes com

e the e Th e e e pris d r st of the setting . walls w re unadorn d save for a window high in th e wall gi vmg on th e out

e th e e side, and a round clock m asuring hours hung n ar

bed h h . t e e t e the Outside window , just visibl to audi e e e e T s et nc , was a blackbird in a wick r cag . his was by

W e rich e th e e o f th e P Joseph y , who design d int rior rov inceto n P f w layers Theatre in N ew York . Its antastical atmosphere was in e xact accord with th e S pirit o f th e

f H Yet play that recounts th e merry death o arlequin . it was obtaine d by th e simpl est possible means .

’ In a later production o f S usan Glaspell s F reudian

e S u res s ed D es ir es e e com dy, pp , th r was a plain wall with

e e medalion s e e f r st ncil d , highly d corativ urnitu e , and a striking note obtained by the use o f widely st r ipe d cur tains that stamped the room with an air o f oddn ess and chic- the room in question be ing a studio in W ashington

S e ff e S . e e e e quar outh In th s cts , always simply attain d , the Vagabond Players excel . Th e programs o f Th e Vagabond T heatre bring be fore the public plays by Baltimoreans ; plays that oth er Little Theatres are giving ; and plays that are acknowle dged

A E T e masterpieces in merica and urope . h se Vagabond

e an d programs are well spic d with variety, are most hap

F or pily arranged . instance , the ﬁrst program was an

’ — M r M e e . art program music , repres nted by enck n s play ;

’ ’ M r S E vrieno f s painting, by . tevens play ; and acting, by

A M err D eat A y h . nother program was a program of

T HE VAGABOND T HEAT RE O F BALT IM ORE 1 75

N e . e e Th e Betr aal isms ationalism , r pres nt d through y ,

P C F e e e e u by adraic olum ; r udianism, r pres nt d by S p

r es s ed D es ir es S e e e n e p , and ocialism , r pr sent d by Co t m

aries W D e All or S ee e . p , by ilbur ani l t l this marks high

e th e o f - Th e a tid in art program making , for which Vag

’ M r A e s . e e N e bond s dir ctor , d l athan , is r sponsible . In giving a cross se ction o f what othe r Little Theatres are doing the Vagabond Playe rs strike a n ew and happy

T e e e T e note . h y do not copy oth r Littl heatres in ithe r the e th e th e s tting or costuming of plays . It is as i f th ey simply said : H e re is a play done by the Wash I in n P e H e e gto S quare lay rs . r is a play done by the

P T is r Provincetown laye rs . his what they ae doing at th e Little Theatre in Chicago and this is what they are

h e r P e Ne w doing at t e N ighbo hood layhous in York . You have see n what the Vagabond Players have pro

N e e e T e d uced . ow tak a look at what oth r Littl h atres h are accomplishing in othe r parts of t e country . T oo many Little T he atre s forget that there are any

The othe r players in th e world b e side s themselve s .

Vagabond Playe rs give a sense o f cosmopolitanism .

e o f e Their work shows a consciousn ss th ir own world ,

T e e e and o f othe r wor lds outside it . h y hav giv n not only th e work o f other Little Ame rican Theatre s ; but

ff e e A the work o f ﬁve di e rent countri s b sides merica ,

R Be E e S e e . n amely , ussia , lgium , ngland , Ir land , and w d n

Th e Vagabond Theatre is a much - nee ded art cente r for

e be e Baltimore , and that city can w ll glad to hav the new and signiﬁcant things of drama brought into its midst through the efforts of this pioneer group . 1 76 T HE LITT LE T HEAT RES O F T HE SOUT H

Th e repertoire of The Vagabond Theatre has been as follows

Th e Ar tis t H e M e e R land T , by nry nck n ; y , by homas W S e e Th e M err D eath b E vrienof B ound ood t v ns ; y , y ; ’ ’ Eas t or Car di E e e O N eill Th e S tr on er f ﬂ, by ug n ; g , by A r cl o S t A n th on S e M i ae . M aete r trindb rg ; f y, by linck ; Contem orar ies Dan e W e t S tee e Th e B e traal b p , by i l ilb r l ; y , y Pardaic S u r es s ed D es ir es S a G a e and Colum ; pp , by us n l sp ll Ge Cr e Th e D ou bl e M iracl e e Gar orge am Cook ; , by Rob rt a Th e S on o S ol omon A e e Nat an Th e M aker l nd ; g f , by d l h ; o D reams t D Th e Th eatr e o the S ou l f , by Oliphan own ; f , ’ vrieno f Black E ll M e M al eson O ver by E ; , by yl s , and

r uled Ge e Be S w . , by org rnard ha

‘ : 1 78 T HE LIT T LE T HEAT RES O F T HE SOUT H

e W e e e a most int resting program for next int r, larg ly mad

Up of works by English and Am e rican authors . The D rama League Playe rs as an organiz ation is com

S e f th e e pos ed o i gi fte d amateurs . om o plays produc d by th e D rama Le ague Players have been : Th e Tr ag edy

’ o N an M ase ﬁeld Cathleen ui H oulihan e f , by ; , by Y ats ;

Lad Patricia Be e S u r ess ed D es ir es y , by si r ; and pp , by D 1 1 S usan Glasp ell and George Cram Cooke . uring 9 7 1 9 1 8 they will produce for th e ﬁrst time in this coun H i Bit ane w Be S A u us tu s D oes s . try rnard haw play , g

T e Th e Admirabl e Bas hvill e S hey will also giv , by haw ,

E e e Th e F aith Jane Cl e S t. and gg , by John rvin , as w ll as

’ H eal er M Th e L ead er e e O Connor , by oody ; , by J r miah ;

Th e P eo l e S G e S rin in Bl ooms bur p , by usan lasp ll ; p g y ,

H B e Th e Chris tenin R obe A by arold righous ; g , by nne

E B ound E as t r om Car di f E L . stabrook ; f f, by ugene

’ it ms el M oliére Neill A D octor in S e o H i . O ; p f f, by T HE LITT LE T HEAT RE O F NEW ORLEANS

T H E New Orleans cente r o f th e D rama Le ague pur

e a e T e e e e pos s having Littl h atr , and will b gin activ work

h A f 1 1 Th e e o f in t e utumn o 9 7. id a having a Little

Theatre has b ee n fostere d by th e play - producing com mit ee f h e e Th e for th e t o t e New Orl ans cent r . plans

f n T r f policy o this e w Little heatre ae not ully matured . A s in othe r Little T heatre s special inte rest is centered in th e o f one - n ew to N ew production act plays , plays

r e th e z e o f e O l ans , which citi ns that city might not oth r

e see Th e e e be e o f th e wis . audi nc will at ﬁrst compos d

0 0 e e f h e e 3 m mb rs o t e New Orl ans center . Wh ther or n ot there will be othe r subscribe rs has not yet been d e t rmin d h T e e e upon . Until such time as t e Little heatr is

e e G H T e e r nt d , or built , ibson all in ulan Univ rsity will be e T Th e B u B t e e e . ea o ah us d as a Littl h atr f , and

’ Cou ns el R etained C e D A rc M e , by onstanc y ackay, hav

e e e for h f T b n chos n t e Opening bill o this Little heatre . T HE LITT LE T HEAT RE O F LOUISVILLE

e K z e T e Louisvill , y . , is also organi ing a Littl h atre , and

Th e the pre liminary meetings have already been held . th eater company will begin work in th e Autumn o f 1 9 1 7. Until such time as a perman ent Little T heatre can be s e cured the p erformance s will take place in a local theatre

th e A ee and admission will be nominal . committ has

e e e A n b en form d to pass on all prospective m mbers . y

e e one interest d in acting, d signing , or playwrighting, is e T h e th e e ligible to memb ership . policy of theatr will be to produce plays which are not usually seen upon the

h n - e t e o e . comm rcial stage , in particular act play

“ Th e obj ect of the organi z ation is to produce e i the r plays of known value or new and untried plays . It prom ises be for th e a to a stimulant to unknown writers st ge, who are cordially invited to submit their plays to the ” - l play reading committee for perusa .

1 82 LABORAT ORY T HEAT RES

d another is under way, almost as it is in a goo stock company .

The longe r play and th e one - act play usually alte r Th nate on Laboratory Theatre programs . e student workers in these university theatres are striving to er — p fect their technique in th e arts of the stage therefore th ere is deﬁnite standard to the productions . HARVARD ’S 47 W ORKSHOP T HEAT RE

Twenty years ago to have said that th e art o f th e theatre should rece ive recogn ition as a ﬁne art and count as points toward a college d egre e would have seemed

h Yet like suggesting t e wilde st nonsens e . today it is accepted as an intere sting rathe r than a revolutionary fact . Th e pionee r in this movement was Professor George

P e e B e o f H e e th e i rc ak r arvard , who stablish d ﬁrst uni versity course in playwrighting in this country and th e

T H is ﬁrst Unive rsity Laboratory heatre . work in teach ing debate and polemics as well as his course in English drama l ed to his evolving a course now widely and collo — qu ially known as English 47 4 7 being th e number of h h t e course in t e college curriculum . This course teaches the principle s o f playwrighting to “ ’ — a limited class dubbed Baker s D ozen twelve of

are f H e e R ffe whom students o arvard and tw lv at adcli . On th e rostrum o f those who repre sent the succe ss o f th e B e are th e e o f E S e aker m thod nam s dward h ldon ,

E K e E e G e dward noblauch , Jul s ck rt oodman , Jos phine

P e P F e B C e K r ston eabody, red rick allard , l aves inkaid , and

Be Lewis ach .

Th e classes of men and women are taught separately .

Th e e one e e e for cours lasts coll g year, and stud nts it

e T c must send in competitiv plays . here is also a s holar

1 83 1 8 AB RAT R T HEAT ES 4 L O O Y. R

it— M cD owell F ship in connection with the ellowship , a entitling student to the full course . It is a competitive

won e ee - - a fellowship , by the b st thr act or four act pl y submitted by any young man or woman who has not

e en E e Pro pr viously tak nglish 4 7. Quit apart from ’ fessor Baker s interesting and stimulating lectures there are other strong drawing cards for th e dramatically

T C ze 0 0 ambitious . here is the raig pri , consisting of $5 ; $2 50 o f which goes to the H arvard D ramatic Library and $2 50 to the lucky winne r who has th e pleasure and instruction of seeing his play staged for arun at the

C S T e Bos astle quare heatr in ton , one of the best stock A T companies in merica . his play must be written while E P its author is a student in nglish 47. lays written a year afte r aspiring dramatists have left the course are not entitled to consideration . Th e H arvard D ramatic Club is another source through

’ which Professor Baker s students are given an opp or tunit z y to visuali e their plays . It would seem with all these activities as i f the stu d ents had enough to satis fy the most voraciously ambi

Bu h z . t e t e C tious they cannot all hop to win raig pri e , so an auditorium standing in on e of the college buildings

a e T th e was developed into littl Laboratory heatre , ﬁrst T Workshop heatre in this country . Everything about this theatre is done by th e stu dents

l e P e B as u themse v s , with rof ssor aker g iding spirit or

e e e e e of chief régisseur , assist d by an xecutiv committ

r u e T th e is g ad ate stud nts . hus work of the class room related to deﬁnite action .

1 86 LABORAT ORY T HEAT RES

caps , to use what they have to obtain what they have ” f M e G e o . not , as the ancient reeks wer fond saying or

e e e over, th y are train d in m thods of economy other than

T e e e e ffe space economy . hey l arn how to cr at colorful cts

e e e e e from very simpl mat rial , and to manipulat xp nse — accounts accordingly no small thing when it comes to

T A e the running o f a Little heatre . lso they hav actual — experience in stage lighting the lighting falling largely to the care o f the men students ; while to th e women the f actual making o costumes sometimes accrues , down to

th e e e . v ritable cutting out , basting, and sewing tog ther Also it is largely the women students who hunt for props — and accessories tiny notes that build th e atmosphere f O a play . Plays for the 47 Workshop performances are chosen through competition : wh en th e script has been selected

th e e are e e for production , designs for its s tting lik wis

e selected comp titively .

A the dmission to performances is by invitation , rigidly restricted to pe rsons interested in such ex peri ” P e mentation as the Workshop offers . ast and pr sent members of English 47 as well as students from P ro ’ fes sor Baker s courses in dramatic literature form one hal f the audience ; the oth er half is drawn from Cam

B S e e T o T bridge and oston . ince the d mis of the y heatre th e 47 W orkshop Th eatre is the only Little Theatre in

B e oston or Cambridg .

T e are e e e hough invitation tick ts fr e , each p rson att nd ing the play is requested (and in th e case o f students required) to send in a criticism of not more than four ’ ' HARVARD S 47 W ORKSHOP T HEAT RE 1 87

B e P fe B page s . y this m ans ro ssor ake r seeks to subj ect the play to as many different kinds o f judgment as ” T e e e e th possible . hat th s criticisms may be t rs and to e point th e following printed suggestions are given to the amateur critics :

1 D e th e e e e . o s playwright l av you cl ar as to his pur

e e e — e f e pos both as to th m and kind of play , wheth r arc ,

e ! I f e h e com dy , or what so , judg him by what has

T h e e . e e tri d to do qu stion is , not how you would hav

e e th e e et er for th e t tr at d subj ct , but wh h you au hor has f h ee e e e e . succ d d or ail d in what has tri d to do , and why

’ D th th e e 2 e e e e . . on t judg play till all vid nc is in

T e e l et e re u oday , too many audi nc s a ﬁrst or s cond act p j

e e for th dic th m or against e whole play .

’ D e th o f 3. on t trust your ﬁrst impr ssions at e call

h B f h . t e . e e t e e e ﬁnal curtain or making r port , think ov r

e e e e e f e e o f th s instinctiv judgm nts , v ri ying th m by d tails

h e e t play which r cur to you . D ’ f . e th e 4 on t con us work of author , actors , and pro d uce r th e e f f th G e e in succ ss or ailure o e play . iv ach

e - his shar in what must be co Op erative work .

5. In praise or censure try to indicate where in th e

e e e for play you ﬁnd your vid nc your conclusions , and

e e f e e z wh th r ailur or success lies in story, charact ri ation ,

e . dialogue , or structur 6 B . e as s eve re as you like if fair and speciﬁc : the

e e th e e r r g n ral and cl ve ae not h elp ful . All plays given ﬁrst production by the 4 7 Workshop

e e e h e t e e . hav thus be n r work d , says prosp ctus These criticisms are signed as aguarantee of good 1 88 LABORAT ORY T HEAT RES

T f h faith . hen the names o t e amateur critics are re moved and the criticisms passe d on to th e respective

o f th N o authors e plays . professional critics are ad mitted re , since the plays produced a not in their ﬁnal

T e r h . ae t e T e r form h y plays in making . h ir ﬁnal e

e b e W writing occurs aft r , not efor , the orkshop pro duction . Whethe r or not the student wishe s to submit his play for production and criticism is entirely optional . Only a pe rcentage of the plays submitted to the executive com mittee re e A S a accept d . a rule most of the students are ” e - extr mely eage r for a try out .

The e e e student playwrights do not , sav in rar instanc s ,

e e e e r h arse the ir own plays . S tud nts specially int rested in producing plays take charge o f this department under the e e P B e g n ral supervision of rofe ssor ak r .

A are th e cting , pantomime , and diction not taught in

T T e e are Workshop heatre save incide ntal ly . h r four teen p ermanent membe rs ih th e W orkshop company ; men an d women selected by th e executive committee on

T o account o f the ir inh erent dramatic ability . this group are added membe rs o f th e Playwrighting Cours e when

T e th e occasion warrants it . hos wanting to act simply — go ah ead and act e xactly as did the Irish Playe rs in D H Th e W T e their ublin all . 47 orkshop h atre is a play ’ — im wright s laboratory th eatre not a school of acting . S th ple naturalistic playing is e rule . Th e Workshop company is pledged to act whenever called upon , and to take the parts assigned without par B th W Th l e . P e e y _ rofessor aker declares that orkshop

1 90 LABORAT ORY T HEAT RES th e red ﬂame from ﬁ re and candle gleam lending the o e T e nly touch s of bright color . his sc ne darkened and

e a set had e dissolv d into a c thedral , which a gr at win dow in cente r background o f (imitation ) stained glass

e e e through which light str am d on a high altar b neath it ,

e f Th e e . e gul s of gorg o!us color alling on it in a patt rn crowd of worshipers in the cathedral were in brilliant

a e e medi eval dr ss , cardinal red , vivid blue , and orang pre

Th e f dominating . change rom shadow to this brilliant

e eff e scen was most ectiv . It is in costume rathe r than in modern settings that the best scenic e ffects o f th e Workshop Th eatre are ob tain A h ed . s e t e e e ae xample , outdoor s tting and the m di val

’ costumes for M iss Wright s Th e Wonder - w or ker may be mentioned . Among the grayly realistic plays the production of

H ome S weet H ome R A er , by Violet obinson , an m ican

one e e drama play in act, is m morable for its bitt r truth

e fuln ss .

Th e R eves b S word Pla t e e y y , ano her r vival , was a gr at

th e e success , introducing as it did vigorous and b autiful

T e sword and morris dances . his was of course giv n by a cast of men . Th e Workshop Theatre also gave the ﬁrst production

E vind o the H ills S u o of y f , by Johann ig rj nsson , the Ice landic T e dramatist . his play, with its quaint Ic landic

et e e e costumes , its colorful y starkly simpl s ttings , prov d H B e e . so popular that it was r p ated in Jordan all, oston

‘ Th e greater length o f time re nde rs it possible tostage more plays in th e Winter course than in the S ummer

’ 1 9 2 LABORAT ORY T HEAT RES

’ The I n antas B ir thda A K Th e Wave f y, by strid imball ; s of Torr e E e C re a B e tween th e Lines b , by th l lai Rand ll ; , y a C e B . h nn in h rlott C orp e g . ( This play won th e Craig r ze te e at th e C t e S e T p i and was la r p roduc d as l quar heatre,

Boston . )

W NTE S EAS N 1 1 - 1 1 I R O , 9 5 9 6

Th e P ur l e D r eam b o - D . B ree one Th e p , y nald L d ( act) ; R e bou nd t ee at T P o Pl ot an d ( hr c s) , by homas . R binson ; s P lawr i h ts E ar M a e t aer r y g , by dw d ss y ( his play was l t p o duced th e Wa n t n S are P ae N ew or t by shi g o qu l y rs , Y k Ci y) R etur n o th e P r odi al e B e Th e O ther Voice f g , by L wis ach ;

one - S e Far P ru d ence in Par ticular ( act) , by ydn y i banks ; , t by Rachael Barton Bu le r .

S M M E S EAS N 1 1 6 U R O , 9

(In conne ction with th e Harvard S umme r School)

Th e Wond er - w or ker b W r t Th e R es cu e b , y Lucy igh ; , y Th l ori t S h o fre Ha ta . S t e F s W Ri C mi h ; p, by ini d wk

T n - r e e t ree ere o e act a . The l or o b idge . ( h s h w p l ys ) G y f

Th eir Years b o n e ea F roome r . , y J h R dh d , J

W NTE S EAS N 1 1 6- 1 1 I R O , 9 9 7

’ ’ i Ha n Th e ol onel s Wil l 0 Th e W s D or F . C p, by is lma ; ommu en ce b Kat r e t n E vind o th e H ills C p , y ha in Clugs o y f , a S r o n e t R us ted S tock by Joh nn igu j nsso , Ic landic drama ist ; ,

’ by Doris Halman . T HE DART M T H AB RAT R T HEAT E OU L O O Y. R

D ART M OU T H Laboratory Theatre work began in ear

e in th e e 1 1 u e e n st y ar 9 3, tho gh up to that tim th re had always been a dramatic club which gave various enter

h Bu e W tainments throughout t e year . t in that y ar allace

F R e th e T e l e e . obinson pres nted Little h atre to the co l g ,

e E . W e e e and Walt r ang r was mad dir ctor of dramatics , h although at t e time he was only an undergraduate .

’ M r n e r . Wag s idea was to make of the D artmouth

Dramatic Association acommon - sense practical munici pal theate r controlle d by an undergraduate stock com

H is ee e e e . pany . policy has b n in forc ver sinc This

’ M r n r e G e S e . a e s policy, as outlin d by ilb rt w tt, W g suc

e f c ssor , is as ollows Our aims are two fold : F irst to give as profe ssional ﬁnish as we are capabl e o f to every production that we

e e . W e ee be e as und rtak do not s k to judg d, and , a

e o f are e e matt r fact , not judg d by our audienc s by ama

r e h f teu standards . W want them to come to t e per orm ance to see the show and not simply to see Charley or B e . Jim or ill mak asses of themselves I f we are poor,

e e th y t ll us so quite frankly, and that is what we want . Our second aim is to act as a sort of clearing house for whatever talent the re may be in th e undergraduate

S e e are e body at D artmouth . inc w so d pendent upon

1 93 1 941 LABORAT ORY T HEAT RES

e f e t th e n ces our f orts for very hing in dramatic line , it e

ril e P sa . y h lps us to adhere to this policy laywrights ,

e men sc nic artists , composers , and with any dramatic ideas o f any kind bring the m to us and if they are worth

e e . whil , we carry th m out

T e e o f e e here is no tol ranc plays given b caus of the . props o f college S pirit and personal acquaintanceship with

h T e are e t e actors . he r no fond moth rs and aunts to

S pread compliments during th e customary post - per form

‘ — ance dance so common to amateur shall we say amateur — ish productions .

At th e e z the e h ad of the organi ation stands dir ctor ,

are e e f co- e whose duties to dir ct the oth r o ﬁcers , ordinat th Th e . e e all the interests , and coach acting stag man h ager has charge of t e scenery and el ectrical e quipment . The prope rty manager attends to th e properties and cos t m s Th e e e th e f u e . business manag r att nds to ront of

e e e The fi ar e e the hous ntir ly . of ce rs e chos n entir ly by

E e e the e f th e s o h o competition . v ry y ar candidat s rom p more class work throughout th e year and at the e nd are chosen according to th eir me rit for positions as th e

D e e e e e e assistant offi cers . uring th ir junior y ar th y r c iv training unde r their immediate superiors and are well

' ﬁtted to take up th e dutie s of the major ofﬁces in th eir senior ye ar . Two of the most radical of our moves were the climi nation o f the professional coaches and the utiliz ation of th e association by playwrights as alaboratory for um

are an produced plays , which to be tried out before audi

e enc before their production .

1 9 6 LABORAT ORY T HEAT RES the use of awhite cheesecloth cycloramapainted with light .

S a th e e f ince no women t ke part in p r ormances , this

e e h e e e o f A fact naturally inﬂu nc s t s l ction plays . mong the most succe ssful o f th e D artmouth pe rformances from

f e ee Th e N ew S in an artistic point o view hav b n , by

M acD onald H Th e Wor kh ous e Word astings , and , by

G e e f e e th e Lady r gory, who hers l journ y d to Laboratory

’ Theatre to W itness this production ; also W itter Bynner s

Th e Littl e Kin o f th e F R th e g , a play rench evolution ;

e o f Th e M on r om th e S ea ﬁrst production on any stag f ,

C P D e L eave o Abs en ce by harles Goddard and aul ick y ; f , by Carl F reybe ; th e ﬁrst production in this country of

’ ’ Gilbe rt Canaan s James and Joh n ; M a ete rlinck s Th e

’ I n truder ; M aurice Baring s Catherin e P arr ; Bl ood D ar k

Th e Bur d e n o Li e e e e . and f f , by two und rgraduat stud nts

Bl ood D ar k e was highly impr ssionistic , showing the shadowy graveyard o f a battleﬁeld with three stark

' o e N o or a eared th e : th e cr ss s . act pp in play only voices ’ o f h D e S eckl ed B and t e dead were heard . Conan oyl s p was a popular success by reason o f its me lodramatic qualities .

’ Th e S econd S h epherd s Tal e was produce d in an E liza

“ e the e ze r e e e b than manner , with stag locali d to pr s nt

’ ff e e D un san s A N i h t at A n I nn Ge e di er nt sc nes . y g ; org

’ ’ A N e tie S utro s M an in th e S talls are de s t , and , , it is

T e e e be th e e . planned , to n xt productions h r hav also

e o f - e e e e be n a number semi privat productions , in xp nsiv ly k ff S o f T ch e o G e . staged , of plays , Lady r gory, and ynge

Programs of one - act plays have been taken on th e road D ART M OUT H LABORAT ORY T HEAT RE 1 9 7

e e A e one - and produc d in adjacent citi s . matiné of act plays in Boston gaine d high praise from the Boston

e critics , who w re quick to acclaim the vigor and sin

’ c rit D e y of artmouth s laboratory work . M an y o f th e young m en working in this Laboratory T f f heatre go directly rom it to th e pro e ssional stage .

The e W e W e most conspicuous exampl is alt r ang r, now

G e B e with ranvill ark r . This is the msthe tic side of D artmouth Laboratory Theatre ; but it must be admitted that there is anothe r

e th e side to it . In ord r to run dramatic association as

e a municipal stock company is run , popular plays hav

on e e e men to be put shows that will app al to coll g , f f h f e . T e e e t e aculty, and towns olk alik h r or history of ge nuinely cre ative work done along the lines already described is blurred by a serie s of musical shows like

’ Nau h t N er o men e e g y , in which the tak wom n s parts ; and by a s e ri es o f Broadway successes in which men ’ Th take women s parts also . e ide a back of producing thes e two types o f drama is that highbrow stuff will not draw th e college men on a steady ave rage ; nor will it draw th e townspeopl e o f H anove r for any length o f

T H e the f e . e e e e o tim h r is no th atr at anov r, and work th e D artmouth Laboratory The atre is the only drama

h r that t e townspeople ae likely to get during th e year. H e re is a curious anomaly : on the one hand the D art mouth D r amatic Association upbuilds th e ve ry things for which th e n ew move m ent in th e theatre stands ; and on h H t e oth e r hand it tears them down . ere is a magniﬁ cent opportunity to imbue Dartmouth men and Hanover 1 9 8 LABORAT ORY T HEAT RES townsfolk with th e love of th e ﬁner things of the the

f z D e e . atre , and it is only hal s i d upon artmouth has a wonde r ful equipment in its theatre and th e free spirit in

e e th e e which it is manag d ; and p rhaps as y ars go on , it will relegate its popular shows to commencement and prom and carnival week ; but make its steady month - to month work a crusade for those things that are worth

e e whil in the th atre . A whole seri es o f plays in which all th e characters are

Th e f men could be readily given . e dramatic lit rature o “ E urope and Ame rica has countless one - act plays in which

’ A e e there are no feminine protagonists . man s th atr where plays were given in which all the characte rs were

T e e men would be an interesting expe riment . h r is a strong feeling o f the ludicrous ever uppe rmost where

’ me n e e e tak wom n s parts in mod rn plays ; yet , should

- e e are th e all men casts prov monotonous , th re always farcical rough - and - tumble p re - Eli zabethan plays where

’ men can take women s parts with genuin e artistic suc

’ cess as they did in Th e S econd S he ph erd s Tale and as

P P in e e ierr e atel etc . th y have don in ,

What if th e s o - called highbrow plays do not ” take at ﬁrst ! In any modern theatre movement

e And the e e progr ss is always slow . if coll g s do not

the th e e e e one up hold literature of th atr , th n all can say is : it is high time that they did ! D artmouth has already done so much that one cannot but hope she will d o more .

2 0 0 LABORAT ORY T HEAT RES

R e de what overcrowded painting of ancient om , which tracts considerably from the noble simplicity of the the

e Th e are a e f f atr . walls p nel d , rom loor to ceiling , in

oak T e a e e straight white . h re is whit and amb r sky

S ix a e ee light . mur l paintings ﬂank the stag , thr on “ e A th e e : ach side . bove stag is the inscription Ici ’ i ” l insp ration d epl oye ses ailes . ( S ee illustration facing page

The stage, instead of being separated from the audi e o f f e nce , is reached by a ﬂight steps . It is ully quipped a in with a loft and grid , trapped ﬂoor, and a modern stallation o f lights . In connection with th e stage the re are dressing rooms and a spacious costume room with a collection o f cos tume s S e e e . om of thes e are in wardrob s ; oth rs hang in

T e are sew serried ranks against the wall . her mirrors,

f e ing machines , cutting tables , orms on which to plac cos — tumes everything that ingenuity can devise to furthe r f the work o getting costumes into shape .

The scene - painting studio has all th e facilities for

e e m activ sc nic work, including paint fra es , canvas , and

e e Th e e lights for xperim ntal lighting . stud nt begins by

th e doing very simple work in studio , and ends by taking

up the problems of illusion scene ry and stage de coration . M odels for scenes are made : the problems of scale and T perspective are dealt with . alks on electricity and light ing are supplemente d by actual laboratory work in the T theatre . wenty sets of scene ry are already in use that a h ve been painte d by the students in the scenic studio . T o outline the policy of the theatre one cannot do

2 02 LABORAT ORY T HEAT RES

In order that the students may become acquainted with as many widely different methods of producing as pos

e T sible , guest directors produc at the Laboratory heatre A D R each year . mong these have been onald obertson ,

P C th e well known as actor and producer . adraic olum,

Irish dramatist , has staged the Irish plays given by the

M rs E P th e e o f th e W is students . . . . S herry, dir ctor

’ P Z G Th e N ei hbors as consin layers , put on ona ale s g

T e A e e part of the Laboratory h atre work . noth r gu st

W P e f e the artist was illiam o l , ounder and dir ctor of

E B . E z S e S e . li abethan tag oci ty of London , ngland Iden

P e e ﬁne N ew ayn , who has a numb r of productions in

e e e e York to his cr dit , is p rman ntly associat d with the Laboratory Th eatre as associate pro fe ssor o f dramatic

Be M r P e en art . fore coming to this country . ayn was g e the N T e e D ral manager of ational h atr , ublin , and had

iz e e S f G organ ed rep rtory s asons in he ﬁeld , Leeds, las E gow , and dinburgh .

’ The most e ffective of the Laboratory Th eatre s pro

i ns M r S e ee D d uct o . t vens considers have b n onald ’ ’ ’ Robertson s production of Tar tuﬂe ; W illiam Poel s

’ P oetas ter B P e production of , and . Iden ayn s produc

’ Win te s Tal e tion of r .

' The scenery for Tw o Gen tl emen of Ver onawas espe cially note worthy in the way it gave richness and beauty o f ff e e e e e ect through unelaborat m ans , the unclutt r d stage

e e T f e . wo e o lending a s ns of spaciousn ss pi ces tapestry ,

f e ee - e an o fertory tabl , and thr high back d chairs were all that were neede d to give an indoor scene a feeling of Th dignity and opulence . e church scene in M uch Ad o T HEAT RE O F T HE CARNEGIE I NST IT UT E 2 0 3

A bou t N othin effe g was also singularly ctive , with its

e e e e e - aust r whit altar , its gr at stain d glass window at

e back , and its costum s showing brilliantly against the

r f h da kne ss o t e church walls .

Be e th e e the e sid s r gular work of stud nts , compli m entary per formances have been give n for M iss M aude

’ M M e A M r E . H . A . S o h n dams , iss argar t nglin , and t er s f one or M r . R B company, also ichard urton , former presi

i he D e e A dent o t rama L agu of merica . Th e acting at the Laboratory Theatre is far and away

h M Br e t e . C . e abov average harles gg , dramatic critic

f th e P Gazette Times o ittsburgh , has this to say : Last S aturday night the writer saw a pe r formance o f

’ e e e You N ever Can Tell S haw s cl v r satir , , that compared in acting and stage essentials favorably with any pro i es

n l e e A s io aproductions v r made in merica . If this were a critical revi e w I might point out the various collee tive and individual evidences of the truth o f this asse r tion . It was astonishing to see and hear these young

‘ ’ players grasp th e inside o f S haw s somewhat ' attenu ”

e e . at d satir , and display its meaning S ome o f th e plays produced by the Carnegie Labora tory Theatre have b een :

Two entl emen o Verona S ae e e The S hadow G f , by h k sp ar ;

o th e Gl en S e D an cin D olls K. 5 . Goo f , by John yng ; g , by d ’ m n Th Land H ear t s D es ire b W . B . e Th e a; e of , y Y ats ; ’ B etraal ar C Th e Kin s Thres h old b y , by P d aic olum ; g , y Th iolin M aker o Cr emona F ran B . e e V W . Y ats ; f , by cois ée I hi eniain Tauris E e Th e Tents o Copp ; p g , by uripid s ; f Ar abs D a M uch Ad o About N othin b the , by uns ny ; g, y 2 0 4 LABORAT ORY T HEAT RES

S e e re The Chal et o Pan e and S e ens hak sp a ; p f , by Ric t v ; You N ever Can Tell Be r r S As You Like I t , by na d haw ; , h M or n e r t E . S a eae Gl or o e ni W . e n by h k sp ; y f g, by L o ard ; Th e N ei hbors b Z o aGae Tar tu e M e e A g , y n l ; f , by oli r ; ’ Win ter s Tal e S e e e Th e I m ortance o B ein , by hak sp ar ; p f g E arnes t aW e Paol o and F ran ces ca S e en , by Osc r ild ; , by t ph P an d Th e Cl oak o D ion s us aGre e M a e hillip s , f y , k squ , by

r S t and T e e A . V e . F or H owad F . mi h h odor i hman this masque all th e audience came in Greek costume and joined in the ﬁnal march through the temple .

2 06 LABORAT ORY T HEAT RES

e and petent casts , and will giv scenic costume de signers

e e A e a plac to xhibit their work . manag r will be able to select his mate rial in all departments with a minimum risk of disappointment and it is hoped that the public will gain through the extension of the Theatre Work shop amore sympathetic understanding of the art of the f h ” theatre rom t e professional point o f view .

The W e ﬁ ft a orkshop alr ady has a group of y , pl yers on

e W activi its list , most of th m engaged with the orkshop Th e B . e ties , some of th m now playing in roadway casts production department has the following active members

G G E W n e M M S a race riswold , dith y n atthison , ary h w ,

O H e e r N . live Oliver , and arry vill Others p omising

- A B co : S a . operation are Otis kinner , Juli rthur, Iden

P E ll n r M a H . G E s e W . ayne, dward , ilmore , and inn

G H n ale ay es .

The T e now e er heatr Workshop even , befor it has a p

e e be manent exp rimental plant of its own , striv s to a

r e clea ing house for the best in drama . It will s nd out its group of players and scenic and costume artists to co - e T e and op rate with Little h atres , with civic masques

e h — pageants , with colleges , and ev n wit schools such as

F S has e T e the inch chool , which its own Littl heatr , the

f - T e F S e . Lenox h atre , on i ty eighth tr et The Workshop Players alre ady have arepe rtoire w Th e Twelve - P ound L ook B e hich includes , by arri ;

I n aBal con B Th e Ten ts o th e A r abs y, by rowning ; f ,

D Th e B racel et Th e O en D oor A M ar by unsany ; , p , and rid e H as Been A rran ed A S Th e Gaol g g , by lfred utro ;

Gate b G Th e P ot B oiler A Ger , y Lady regory ; , by lice _ T HE T HEAT RE WORKSHO P 2 0 7

’ e The H aunted Chamber F e Toole st nberg ; , by lix O ;

Th e S had ow in the Gl en S n e . , by y g A two dollar membership entitles its owner to p er

o f W e e ee sonal notiﬁcation orkshop p rformanc s , fr and

e e at oth rwis , and to two seats one subscription per

forman ce .

2 1 0 LIT T LE COUNT RY T HEAT RES stand out too glaringly they suddenly become cheap and absurd .

Ar old e C Alfred v , who establish d the ﬁrst Little oun

T e e e h e e th e try h atre , did so b caus declar d that coun

e e e e e th e try need d life , int ll ctual lif , so much mor than city .

M r Ar old : th e S ays . v In desolate rural districts of West wh ere there is only one Eastern passenge r train a

th e e e day, whol town turns out to watch that train com

Wh ! B e e e in . y cause to country people it repr s nts a

fe T e large r li . hey do not know it ; but the hung r that

e for impels th m to the station is a hunger adventure , for G a e e f e . romanc , for som thing di f rent ive these s me peo

e T e ple a Littl h atre to attend , to work for, to plan for,

h ff The e and mark t e di erence . spell will be laid alik on

e e e e play rs and audi nce , since both players and audi nc will

h T e e of th e be drawn from t e community . h ir hidd n love

e th e th e e strang , romantic , colorful , will be focus d and

satisﬁed . Th e city has snobbishly b elieved that th e country can

e e th e e o f e th e not appr ciat ﬁn r things drama , and th re

’ M r Ar ld s A . vo city is absolutely wrong . farmer at Little Country Theatre in North D akota upon witnessing a play by Bj Ornstj erne Bj Ornson remarked succinctly : This Show has got the movies skun a mile ! T HE LITT LE COUNT RY T HEAT RE O F FA N D G . R O , .

LI TT LE Country Theatres are always o fthe community

A l r e e . e ae s stae typ udienc , p y p g hands , dir ctors , artists ,

' f the e e e and playwrights are drawn rom p opl th mselves .

Th e e e C T F work rs in the Littl ountry heatre of argo , N D P . . S . , are the Washington quare layers of the plains This was the ﬁrst Little Country Theatre ever established

th e in United S tates .

M r A f Arvold ofthe N D . l red , University of orth akota , saw th e possibilities that lay dormant in an abandoned

H e t e chapel that stood on the university grounds . modeled this chapel into a small theatre ; had seve ral

e e e simpl scenes made , and drawing tog th r the artistically

o f H is inclined the community, began to produce plays . theatre met with a succe ss so astonishing that it is now

the e S G Th e e backed by Unit d tates overnment . latt r s ee s in the Little Country Theatre a new power for f country li e . A dramatic lending library is run in connection with

’ M r A . e N lvord s th atre, so that the whole state of orth D akota may know the joy o f reading as well as seeing S plays . ome of the plays that have be en produced at this Little Theatre are : Th e N ewly Wedded Coupl e and

L eonore B Ornson A P ot o Broth Th e , by j ; f , by Yeats ;

Travelin M an The Workhous e Ward a g and , by L dy

2 1 ! 2 1 2 LITT LE COUNT RY T HEAT RES

’ ‘ ’ G Sam Averae P M O - o - M e regory ; g , by ercy ackaye ; p

Th umb P e F M iss Civilization R , by ryc and enn ; , by ich

H D A S cra o Paer S A n ard arding avis ; p f p , by ardou ;

E nem o the P eo l e I celandic F olk Pla y f p , by Ibsen ; an y, put together by th e people of the community from old

M o f th e f e e legends of Iceland . any arm rs com from

e that country, and for that reason this play h ld special

B e o l signiﬁcance . esides these there wer plays by l ca C playwrights , dealing with country problems . ountry

P e P e T robl ms lays they might almost be call d . hese

e Th P ir l Brid in th e W . w e raie Wo f . er , by J Lange ; g g ’ Chas m C Ca n A B ee in aD rone s , by harles rlso , and

H iv P e C . , by ecil arker Th In this theatre there are no boxes or balconies . e

2 Th e e e and seating capacity is 0 0 . color sch m is green Th gold . e walls and ceiling are beamed in golden oak .

Th e - The curtain is forest green velour . eight windows o f h Th e t e . e the theatr are curtained in same color seats ,

o . ct broad and c mfortable , are of stained birch Indire lighting is used for the stage and auditorium.

OT HER LITT LE COUNT RY T HEAT RES

’ T H E success o f Fargo s th eatre l ed th e people of KE N T T h D for e e . t e S AL N . , to wish a Little h atr hrough public - Spiritedness of the community this wish was grati

ﬁ The e se e ed . farm rs rai d and built a theatr

’ M r A old s T e e rv . mod led after . heir repertoire is pra i F t cally the same as the Little Theatre at argo . Anothe r Little Country Theatre has b ee n e stablished

de orat M KI N LE Y COU N T Y N . D . re c in C , , by using ( and ing) some unused rooms above th e country grocery store . Partitions were taken down ; a stage built ; and s e ats for

1 0 e 7 p ople installed . T H E O H IO AGRICU LTU RA L COLLEGE is working toward a Little Country Theatre and has already done laboratory work in this connection by producing plays during

’ ” ’ F e W ee e e s arm rs k , and whil farmers conv ntion are

e . B etw een Two Lives e f in progr ss , a mod rn arm moral B C e e e . T ity play, by harl s urk tt , was th ir ﬁrst offering his

n e play contains a plea for w farming methods , and shows the country boy that with these methods his chance of succeeding in th e country is just twice as great as i f he n we t to the city . '

HE T T E P A NF E D H . T HEA T LI L L I I L ( N. ) T RE

POS S IB L Y the most beautiful Little Country Theatre

A e Plain ﬁeld T e P in m rica is the Little heatr , at lain

ﬁ d e f Pl in ﬁ l l N H . d e . a e , It was r made rom the

e . S ee town hall , a building of sturdy colonial typ ( illus tration e e , page It has neith r balcony nor box s , but ’ s 2 col or schem its s eating capacity i 50 . Its e is gr een and white ; its proscenium arch is ﬂanked by gray - green Th lattices that lend a rustic note . e curtain is ruby velour . Th e Little Plainﬁeld Th eatre is e quipped with lighting faciliti es and scenery that many a city th eatre might

T h r e e e e ee M . e nvy . int rior sc ne s hav b n painted by

H H e th e e ae oward art , who originat d id a of this the tr ,

e e e work d out its possibilities , and th n turn d it over to th e Plainﬁ eld community . Its woodland scene has been

e M r M x ﬁeld P paint d by . a arrish . The repe rtoire o f this th eatre is not a lengthy one since h t e the atre itself has been recently establishe d . Its ﬁrst

T e n n M rs M ax Per h Woodlad P r i ces s . production , , by

e e T e e kins , mark d an innovation in Littl h atr s in that

f Th e e or e e . it was children , act d by childr n n xt pro

ee - C e e th e e e duction was a thr act harad , writt n by p opl

’ o f h e e e the community around the name of t th atr s donor ,

H H A f e e f f e f oward art . t r this came a bri arc rom the

German ; and now as eri es of Ye ats - Gregory plays are

d r under consi eration fo production .

2 14

I LLCOT E T HEA E O F H S M A NE T H E QU T R OLLI , I

The uillcote T e H M e . Q heatr , at ollis , , is a Little

T e e f e e e Country heatre r mod led rom a barn , wh r po tic

n - r T e K e o e act plays ae given . his th atre is owned by at D W for ouglas iggin , and it is the center of interest all th e f lie e arms that n ar it , or within a radius of twenty

A e e mile s . gr at gold quill pen is the w athercock on this ill e e e e u cote . barn th atr , d noting its nam , Q T he the atre auditorium is formed by moving seats into

ae e th e th e e plac on hardwood ﬂoor , facing littl st g that

“ ”

h f n T 1 0 0 . is at t e urth er e d . his auditorium seats T h e walls o f this theatre are neutral wood that age has

f Th e e o f th e e are stain ed a so t brown . great b ams c iling

- e F e e . hand h wn . rom th m hang bright color d lanterns F rom the barn doorways stretches a mellow vistao f ﬁelds

e are set and winding road . Lattic d windows in the wall ,

d f e H e e e o f th e a ding an air o quaintn ss . r the peopl

e Th e Old P eabod P ew th e community may rehears y , or

e o f A D e e cen po tic plays ustin obson , or oth r ighteenth

e e S e e e e e tury vign tt s , ince this th atr is d vot d to the costum play . The potentialities o f little rural theatre s are so great that it would take a proph et o f no mean order to tell all that they may accomplish in the near future .

2 1 8 CO ST O F A LITT LE T HEAT RE

a e the is paid salary is another gr at consideration . If theatre building is used all the time by the company

e playing and reh arsing in it , it naturally has a bearing

th e e e I f on g n ral expense . the theatre is such that it can be l et for concerts and lecture s it will help mate rially

th e Th e e e with rent . s ating capacity also is a consid ra

th e e E tion , for it regulates theatr tax . very state in the

Union has diffe re nt laws regarding theatre taxation .

T e heatr s are taxed according to seating capacity, and as

e h A e to wh the r or not tickets are sold at t e door . Littl Theatre tax may run from $30 0 to $500 per year accord ing to the state of the Union i n which the theatre is . ‘ e T be retained situat d . hen , too, a theatre ﬁreman has to on salary if the seating capacity runs above acertain point . M any Little Theatres in cities avoid paying the the

’ atre tax and th e ﬁ reman s salary by doing away with the

ffi T s box o ce and depending entirely on subscription . hi

the All puts theatre on a club basis . these things have to be taken into account in an estimate of theatre cost . Little T heatres are averse to giving out an itemized

o f e Th e e be list th ir running expenses . r ason for this comes apparent when one considers that the salaries o f

e e are play rs and director will be mad public, and they

be e effi sure to moderate . V ry often an extremely cient director will be willing to take a small salary—amere — living wage for th e pleasure o f working out his ideas

T B t h e e n ot e under Little heatre conditions . u do s car

w c d n scen to have this age made publi . Artists may esig

2 2 0 COST O F A LITT LE T HEAT RE

o f T h h ee ﬂoor a house for an inconspicuous sum . his as t r

e for th e e one larg rooms , two stag and auditorium , and

ff e W e s partitioned o into dr ssing rooms . ith forty c nt for e o f 1 0 0 e f m s ats , a seating capacity , and seven p r or ances amonth they will not be able to make money th e ﬁrst year ; but they will be able to pay for the ir theatre e e th e e e e th e quipm nt , and to carry rent of th ir theatr ov r N S e th e e e e . e umm r months , when th atr stands idl xt year they can begin to have a theatre bank account . Of

e e e e e e cours th y pay no salaries to th ir m mb rs , which m ans an immense reduction of expense . The Workshop Theatre of Chicago has b een able to e a e for e e quip its tiny pl yhous , pay r nt , light , sc nery ,

e e — s eas on costum s , and printing , for a y ar not a ,

f e r e e T e e are a ull y a. Oth r Littl h atr s run for a s eason ; but th e Chicago W orkshop T heatre achieved th e distinction o f r u nning awh ol e year for produc

- ing thirty one act plays . Th P P a e e G . e e rairi layers of alesburg , Ill , r novat d

e e e f e building , install d s ats , a stag , a box o ﬁc , and light

e e e ing syst m ; paid for th ir sc nery , lighting , printing ,

e e for one s ea cl aning , and h ating on a capital of ’ B e e e . ut e e are e son s xp nditur th n , r nts and living low r

- G e N by two thirds in al sburg than in Chicago or ew York .

E e e e v n so , this was a r markable ﬁnancial achiev ment only made possible because th e whole town worked for the

e e t t e e theatre , cheerfully lending v ry hing the h atr wanted to borrow . It was also possible because not one piece of canvas or one single costume was allowed to go to

w . E t was d e d aste very hing painte and r painte , and dyed COST O F A LITT LE T HEAT RE 2 2 1

e The and redyed in order to achiev this result . most

e e rigid e conomy was xercis d . The wonder o f running a Little Theatre for is apparent when one considers that this budge t

be e e e e e can str tch d to cover r nt , costumes , sc n ry , lighting ,

e e r e i . e printing , stag carp ntry wo k , and cl an ng It is int r e sting to note that this is th e e xact sum yearly on which

T G e e e e T e e J . . r in ran his Ind p nd nt h atr in London , ’ E th e e e e ngland , th atr which ﬁrst introduc d Ibsen s

th E - e T ee Gh os ts to e nglish sp aking world . hr thousand

e o f e e be e dollars a s ason is cours a mor li ral budg t , and

e e e e m ans l ss pinching and scraping, l ss w ar and tear on

’ e th e artists nerv s .

T e e th e e e e o r duc th atr budget to a s ason , some one in th e Little Theatre group mus t have a knowledge o f pigments ; o f how to build scenery from compo board

e o f use e as w ll as canvas ; how to the drap d stage , or,

e e th e e as it is t chnically call d , stag hung with curtains . E ithe r th e director or th e theatre artist must also know how to u se and reuse certain scenic e ffe cts in combina

be e e e tions that will not d t cted by the audi nce .

A knowledge o f th e u se of inexpe nsive materials is

e e if th e e e also n c ssary, th atr is to be managed for this

for th e e e o f th e sum , in xp nsiveness costume s depends upon how great or how beauti ful an effect can be secured

ee ze through sat n , cotton poplin , merceri d cotton , cheese H . e cloth , and crépon er is where a knowl edge o f dyes

. And e if is also invaluable last , but not l ast, expense is

be e e be so o to k pt down , ther must me ne experienced in

e . T if e painting sc nes with lights his , c rtain scenes have 2 2 2 COST O F A LIT T LE T HEAT RE

e e e e to be us d again , will gr atly less n th ir monotony

A n the audience . outdoor scene painted with ambe r light can be made to appear quite differently when given

ffe S a moonlit e ct with blue and white lights . uch knowl edge forms th e stock - in - economy of every Little Theatre in this country .

2 2 4 REPERT ORY T HEAT RES I N GENERAL

the and the e of star ; grant all this, with it obnoxiousn ss

e e e of the star syst m , and th n ask wheth r or not the world

b en the had e richer for work of such stars as Irving ,

T M M e ! Ce no e e erry, ansﬁeld , and arlow rtainly th atr goer would be willing to forego his memorie s of th e work

e s e e e . of thes histrion , yet th y repres nted the star syst m Or did they !

T e No rule s can be laid down for genius . he s players

e e e would dominat any play th y appeared in , no matt r a how small the parts they undertook . One c nnot bind

e genius by ordinary rules . It would perhaps be b tter to say that these stars represented the repertory system at — M one angle th ey r epr es en ted th e s tar in r eper tory . ans ﬁeld was indefatigable in making new productions ; he

H e was also inde fatigable in keeping up his repertoire . h A seldom gave less than ﬁve plays when on t e road .

e New e z e e s ason in York , giv n about a do n y ars ago ,

H e R os e ten . e S compris d plays produced hakespear ,

e M e e e Be S w tand, Ibs n , oli r , and introduc d rnard ha to

A F r merican audiences . o young players his company was a veritable school of theatre art . The re fore th e whol esale condemnation of the star sys

e th e e e a tem must b qualiﬁed . Or whol sal condemn tion

e must be reserv d for the stars who are not stars at all ,

- e e but mere hit make rs in a c rtain part . Onc having made the hit their name appears in capital s an d they con tinue e e to play that part , or a part as n arly lik it as pos

Orl A f h w d . n d o t e sible , without end the evil long run

e e system b gins . It also begins wh n a play without a star — — quite a trivial play like Th e B oomerang makes a hit REPERT ORY T HEAT RES I N GENERAL “2 2 5

and settles down on Broadway for an indeﬁnite term . T here fore the path of th e young player was never

ffi it da. more di cult , artistically speaking, than is to y The re are few dominating geniuses unde r whose banner

e e h e can enroll hims lf whil growing in his art , largely be cause the repertory system which aided in developing

T e — genius has ceased to exist . her is no star using that — te rm in its highest sense in the United S tates today who make s any attempt at r epertory .

e e ! Wh r , then , shall the aspiring young player turn Certainly there are several ﬁne stock companies that are e the ke ping alive , according to their lights, some of F traditions o f repertory . irst among these may be

e e N M s m ntion d the orthampton ( as ) stock company, the ﬁ most signi cant stock company in the country , the one

e stock company hous d in a municipal theatre . Count — l ess small cities throughout th e land citi es th e size of

Northampton never reached by any ﬁ rst- rate traveling — company could further th e cause of progre ss in dra

e matic art by stablishing a municipal theatre . Besides this admirable theatre there is the Castle S quare

T e e B th e Pittsﬁeld S C h atr in oston , and tock ompany.

1 T e e th e M l T e e N h s , with unicipa h atr of orthampton , are th e e e E l ading stock compani s of the ast , just as Oliver

’ M orosco s stock company at Los Angeles is the leading 2 stock company o f the W e st .

‘ A fu ll d escrip ti on o f th e N orthamp ton M unicip al Th eatre its , nn n s an d it o c is ven in A end x I I I be gi i g s p li y , g i pp i . Ever S mme r o f co r se th e S mmer S tock y u , u , u Comp any blooms h en th ad breadth o f th e and rom ort an d M t e n , e . t S a l g l f l , , o e ttle P , Nor is th e A er can S tock Com n Wash . m i pay th e only one 2 2 6 REPERT ORY T HEAT RES I N GENERAD

But in spite of the many e xcellencies of these c0m panies and the surprisingly good work they turn out on short notice the young player cannot stay more than

one two or three years with any of them , i f he intends to go far in his profession ; for i f he does he will un ” Th consciously acquire facile stock tricks . e stock actor suffe rs from th e short - run system almost as much

- A as from the long run system . stock company does not h portray t e ideal repertory system . A play in stock runs for a week and is the n snatch ed off and another play is

W e th e e Within t put on . hil stock actor is reh arsing he Law every morning h e is also playing S even Keys to

Baldpate eve ry afternoon and evening . S tock develops versatility and ﬂuency ; but it take s more than these to

Th e e th e make an artist . stock id a is not repertory idea . In repertory one play a month may be given ; or three

e T plays may alternat through a month or six weeks . hese

’ may be dropped from the company s program for a month

e or six months and then reviv d again, as is done in the

e E Th n best repertory compani s of urope . e questio naturally aris es as to why no attempts have been made

ﬂ r sh i n s F n an r n ou i ing n th e U ited S tate . re ch d Ge ma soj ourn ers in ou r larger citi es have th ei r own stock compan ies wh ere p lay s in n N e ork h aan m f f r are given th eir ow tongu e . w Y s u be r o o e ign stock th eatre s ; th e oldest o f th ese is th e I rving Place Th eatre wh e re aGe rman s tock c om an ves as and o erettas ch an p y gi p l y p , g r h Ado h and ing th ei r bill every week or every fo tn ig t. lf P ilip oth e rs n ow an d th en manae oth er German com an es and th ere g p i , aY h Th e Theatre F ran as wh ch s tru are s ever l i ddish t eatre s . c i , i g n in Y rk fo nter s is to be su anted b gl ed alo g N ew o r two wi , pp l y Ja ea n h i atre daV eux Co omb er wh ch w cques C0 p u ad s Th e i l i , i ill m an Th ere are be ar ep ertory th eatre r ath er than astock co p y . n a al so occasi onal p er formances i Itali n.

T HE NEW T HEAT RE

E ew T e e e N e 1 0 the T H N heatr op n d ovemb r , 9 9 , under

A e e f M r W e . direction o . inthrop m s It was an ndow d

T e e e th e e e e . e th atr , devoted to r p rtory syst m h r was

T m en o f talk of its becoming a national theatre . hirty

f E e wealth w ere its ounde rs . ach subscrib d

h e e ffe T e whole theatre was on a vast scal . It was in ct ’ — M ax R einhardt s Theatre o f Th e F ive T housand a

e e for e e e e ffe th atr gr at sp ctacl s , for mass cts , for big

But e e M ax R e brush work . th r was no inhardt with a large corps of trained assistants ready to direct its destiny . D uring its ﬁrst season it was a failure because it gave plays o f intimate appeal which we re lost in its vast audi

r s on d e f to ium . Its eC s eason was more succ ss ul than its 1

e e o f th e e e . ﬁrst , because it gav mor plays spectacl ord r

But still the theatre was run at a loss , and it closed after

e its second season . It lack d the democracy of appeal that

e e Th e F T a th atr of ive housand should have . It was , ‘ “ H e M z o f th e as nry iller wittily said , a dramati ation ” D H e o f h e M H iamond orsesho t etropolitan Opera ouse . It showed plainly that money could not put a soul into

: a theatre could not eve n save a the atre wrongly planned . Th e New Theatre never could have become a national theatre for it lacked th e spirit which makes anational

I t aso ave o eras th ou h the se r en to ard mid l g p , g we e gi v up w as on se . ' T H E NEW T HEAT RE 2 2 9

T o e theatre possible . call it a rep rtory theatre was almost i a misnomer ; for t was too vast , too undemocratic to suit that term . e th e M oreover , most of its productions lack d smooth

the fe z ness , unity , the rhythm , that a per ctly organi ed

The th e repertory company should have . company gave

T e effect of being too hastily gathered together . her was

T e the e little seasoned work . h n , too , changes in p rsonnel were constantly be ing made . Now it is pe rhaps not too much to claim for th e reper

e e e e tory syste m that ev ry att mpt to stablish it , wheth r it f e e ail d or not , has in it something of perman nt value

F e so far as the art o f th e stage is concerned . ailur as th e N ew T heatre was it did give some memorable pro ’ d uctions : D on Be e e e , by Rudolph si r , play d so venly ,

ﬁne e e o f e with such a s ns valu s that , though it was a play e ssentially suited to an intimate th eatre it made its audie nces forge t th e vast spaces through which its N points had to trave l before reaching the ir heare rs . oth

’ ing more b eauti ful than E dith W ynne M atthison s S pirit

The ual portrayal of S is ter B eatr ice could be imagined .

e e e conv nt hall , its gr at door op ning on a faint pink sky against which poplar trees shive red silverly in the wind

o f one th e e o f dawn , was of loveliest stage pictur s this

’ Th f Blu Bi d decade . e production o M ae terlinck s e r also

e e B in s en l ft littl to be desire d . oth its playing and its c ation had the wistful childlike yet colorful note of true

f e airy tal s . Wonderfully pictorial also was th e investi

’ ture o fJosephine Pre ston Peabody s Th e Piper and M ary ’ A The Arro k ut the the ustin s wmaer . O of all rest of 2 30 REPERT ORY T HEAT RES I N G ENERAL

’ f e e ma New Theatre s work that has ad d and gon , these y ” be counted among the things that remain .

th e e fe e e D espite d cts alr ady not d , many authorities con side r that th e inﬂuence of thes e two repertory se asons at th e N ew T heatre was most signiﬁcant and in a way the father o fth e many indepe ndent and Little Theatre move f ments that have ollowed .

M e e S e th e th e or ov r, in pit of unsuitability of many of

e e e N ew T re plays that w r giv n within its walls , the heat

- building itsel f was ve ry important as indicating to Afn Er ica the ﬁne appearance and detache d situation appropriate

e H e e . W . . e to a digniﬁ d theatr J nd rson , the musical o f th e S u n e The e critic , rightly call d it most b autiful

e e the e e H e e e th atr in W st rn misph r . The repe rtory of th e New T heatre from 1 9 0 9 till 1 9 1 1 was as follows :

’ A n ton an d Cl eo atraTw elfth Ni h t 24 Winter s Tal e y p , g , , and Th e M err Wives o Win ds or b S ae e re Th e y f , y h k sp a ; Cottae in th e Air b E ar Kn o a S trife o g , y dw d bl uch ; , by J hn

G rt Th e N i er E ar e Th e ch ol alswo hy ; gg , by dw d S h ldon ; S o or S can dal b S e r an Liz th e M oth er an o f , y h id ; , ( nymous) ; D on o Be e r Th e Witch W e r e , by Rud lph si ; , by i s Janss n , aa e H e r an H ae orn A ct I of B r and I h d p t d by m n g d ; V , by s en S is ter B eatrice an d Th e Bl u e Bir d M ete ; , by a rlinck ; Th e A rr owmaker M a A t n Th e P i er e , by ry us i ; p , by Jos ’ n e Pea Th e Th u nd er bol t P e r N obod s phi body ; , by in o ; y

D au h ter P t Old H eid elber M e e g , by as on , and g, by y r er t r Fo s e .

Th e re were also produced during these two seasons by

in visiting companies, and most of them the subscription

T HE NEW T HEAT RE

e 2 S on o the Peo le M e B eeth oven seri s, f p , by icha lis ; ,

Fauch ois Vanit Fair H n by ; y , by iche s and Lenox, and

M ar M adalene M e e . y g , by a t rlinck A fte r its ﬁrst two seasons this theatre went through

e h f Th e T wo varie d fortun s unde r t e name o Century . se asons were given up to spectacular productions of

ht H eaen Th e Garden of Allah and The D aug er of v .

M r H K e o f th e e Later . Otto . ahn and som original dir ct

the New T e e e e ors of h atr proj ct , along with oth r asso

e C e C ciat s , gave , with the entury Op ra ompany, two of the best seasons ( 1 9 1 3- 1 9 1 5) o f popular - priced Opera in

E A S e e the nglish that merica has eve r known . inc th n

“ house has been devoted to musical shows o f a ve ry popular orde r and not o f the dignity which it was once hoped might characterize productions within its walls . GRANVILLE BARKER O N BROADWAY

A S U CCES S FU L repe rtory e xperiment was made by Granville Barker and his excellent company during th e

1 1 - 1 1 e h e e a o season of 9 4 9 5, wh n gav ﬂawless pr duc

’ A e F Th e M an Wh o tion of natol rance s whimsical play,

’ M arried 0 D umb i e S W f , and haw s paradoxical

The e e Androcl es and the Lion . settings for th s marked a new advance in stage - craft so pe rfectly did the

h f i r B M . investiture catch t e spirit o e ach p ece . arker did much for the pictorial side o f stage art through intro ducing the work of Robert Jone s and Norman W ilkin

e Th e e s son to a larg public . spirit d , mellowly humorou acting of the se plays left nothing to be desired .

’ E r B xotically interesting also was M . arker s produc

’ ’ S e e M ids ummer Ni h t s D r eam tion of hakesp ar s g , with

e f the E costum s and settings rom astern Ind, and its

e f e A e e e gild d airi s . little l ss int r sting was his produc

’ ’ o f Th e D o tb D il e tion S haw s c r s mma.

M r B . arker was brought to this country by the S tage

S z cre ociety, an organi ation which helps to foster the

’ e M r B e ativ things of drama , and . ark r s season is ever

e But e th e lastingly to th ir credit . it is a rul with S tage

S e new e e e e on oci ty to start mov m nts , and onc th y are

e T e e e e e . th ir fe t , to begin their work an w elsewh r h y

M r B e e brought . ark r to this country ; but th y did not guarantee their support of his work for more than a

2 32

GRACE GEORGE’S REPERT ORY SEASON

I N 1 1 6- 1 1 a - e G 9 9 7 th t brilliant actress manag r, race

G e one e eorge , produc d ﬁve social comedies , every of th m worth while from a literary as well as a dramatic point

T e Th e N ew York I dea of view . h se were , by Langdon

M Th e Liars H A M aor itchell ; , by enry rthur Jones ; j B D arbara B S Th e Ear th . , by ernard haw ; , by James

F Catain B as b und B S Th e r s o . agan ; p , by ernard haw

ew York I d eaCatain Bras s bound The Liars N , p , and had been seen before ; M aj or Barbarawas produced for th e

s Th e Ear th e ﬁrst time in thi country, and for the ﬁrst tim

e Th e o f M G in N w York . work iss eorge and her asso

be ciates was universally praised . Although she might said to have been the star of her repertory company sh e

e o f the e Th e e e never kept the c nter stag . plays w r pro d uced for e f- ex l oi primarily as plays , not as vehicles s l p t ion e at . H r e season was an unqualiﬁed succ ss, lasting “ ” e Th e e e ight months . repertory theatr at last ! cri d the press and the public . The chie f critics of the country hailed this move o f

’ M iss George s as one of the most signiﬁcant things F accomplished during the whole year . orthwith it was stated that M is s George would have a repertory season

W But every inter . another season has passed and this

n M promise has not bee fulﬁlled . iss Ge orge may want

h er to appear in repertory, but conditions are against .

2 34 ’ GRACE GEORGE S REPERT ORY SEASON 2 35

Indeed it was this accomplished actress who said , upon witnessing one of the ﬁrst programs ever given by th e

“ Washington S quare Players : Any one inte re sted in theatre could do nothing better than to help ﬁnance ” this group . T HE LITT LE T HEAT RE AN D REPERT ORY

A N D M Ge th e th F r f e . o e iss orge hit nail on head , a t r his wande rings from commercial theatre to commercial

e the th atre , aspiring young actor will ﬁnd that it is in th e Little Theatres with their repe rtory system that th e

e for e possibiliti s progress in his art are most appar nt . While repe rtory is dying out of the commercial the atre it is bearing n ew and sign iﬁcant fruit in th e Little Th e atre T th s . r h e e e e hey ae t e rep ertory th atr s of pr se nt .

N 0 e The need to talk of establishing repertory theatr s .

T h e i e e e . o t r pertory th atre is her , in our midst ambit ous actor as well as to the ambitious playwright it offers

h e be . W t salient advantages hat though salary small , the actor in a Little Theatre is given an engagement that lasts the full season : there is no wear and tear : no

e - T e e n rve fraying uncertainty . h r is no going on the road with dreary one - night stands : no time wasted going

’ f r h about to agents offi ces hunting o t e ever elusive job . The actor in the Little Theatre may have to practise

e But e e e m z . conomy . it is asi r to cono i e than to worry

f An d Worry has too ofte n caused the d eath o art . (

Th e W S e incidentally of th e artist . ) ashington quar h T P are e t e . layers paid small salari s by year hat is , their salari es continue ove r the S ummer months when they are not playing . As to whether or not th e young actor proﬁts artisti 236

APPEND I CES

2 42 APPEND ICES to catch the subtle illusion on which the plays were ” T e e the e e o f a e . based . h y w r int ll ctual dramas J pan

T th e th e e e e th e hus in Orient limit d audi nc , small

e the e e e e th e theatr was aristocratic in xtr m , whil in Occident the small theatre is essentially th e theatre of

h h T e e . t e t e e d mocracy In Orient Littl heatr , through its

e th e e dramas , kept aliv old and traditional id as ; in the Occident the Little Theatre stands and has stood for all

e that is n west in ideas and art . Th e garden theatres of mediaeval Italian noblemen were also of th e intimate type : th e eighteenth ce ntury indoor court theatre s o f Germany were o ften small in circumference ; but it was not until th e opening of the Theatre Antoine that th e genuine Little Theatre came d eﬁnitely into view. LITT LE T HEAT RES T HAT HAVE FAILED

Out of ﬁ fty - ﬁv e Little Theatres in the United S tates there have be en four failure s ; a small percentage when

e th e be e e S m one consid rs odds to ov rcom . o etimes the reason for failure lies with th e theatre ; sometimes it is

h e e A a t e audi nc that is to blame . produced pl y is a

e ff A e e e re collaborat d e ort . udi nc and play rs a inter

e A e e e for e d pendent . g nuin lov art must xist in a com munity both inside and outside th e playhouse if th e

T e e e a recia Little heatre is to succeed . Wher th r is pp tion with both playe rs and audi ence a Little Theatre

f Th e e e T D cannot ail . admirabl Littl heatre of enver

- The ( 1 9 1 5 1 9 1 6) failed for lack of a literary public . Princess Players in New York failed because they tried to give the public what their director thought the public

h f M r H B e e t e e . want d , and ev n gr at gi ts of olbrook linn

The T o T did not serve to ward off disaster . y heatre B in oston failed be cause it was what its name implied . ’ e The N c Its work rs did not take it seriously . ine O lock Theatre in New York ( 1 9 1 6) failed be fore it got to its ﬁrst public pe rformance b ecause it was established with out taking into conside ration eithe r the building laws or th e W e f ﬁre laws . h n it was ound that it could not be

e W was nd . mad over , to comply ith these, it aba oned

243 2 44 APPEND ICES

’ Charles Edison s Little T himble Theatre ( 1 9 1 5- 1 9 1 6]

e e is t mporarily clos d , though not through lack of an

e e But e e e appr ciativ public . it cannot at pr s nt b listed

T e e are h under Little h atr s that in actual existence . W y it should ' be close d is a matter that rests on th e knees o f the f e e e e e gods . It was the one r th atr in N w York

C e e o f A T ity devoted to the int r sts merican artists . hat

T e e e is , admittance was without charge . ick ts w re s nt upon request T o quote from its ﬁrst announcement “

’ Charles Edison s Little Thimble T heatre has no oth er

e A purpose than to giv young merican musicians , com ” T e s . posers , po ts , and playwright a hearing his the

T e T e e e d ec himbl heatr gav th m on its tiny , charmingly

e f T e orat d stage our nights a week . her was always an

e e Th e e e inter st d audience . b ginn r in any art ﬁnds it

fi et T e e e dif cult to g a hearing . his th atr remov d that i fi T h F e F e o f Ger nitial dif culty . e great r e olk S tag

e e th e Ge e many, the most lib rating forc in rman theatr , sprang from a beginning something similar to this . It is a pity that such a Littl e Theatre as this cannot be p er manen l t y established in this county .

Th T - e W S N . C . Little heatre of inston alem , , failed

o f for lack public appreciation and support, although its e ff orts were ambitious and interesting.

2 46 APPEND ICES

For o f e a number y ars , productions of various sorts were booked and ﬁnancially the Academy had its ups and

a e e ff downs with varying kind of nt rtainment o ered , r o f e anging from the cheapest road companies to the b st .

“ A fe eling that Northampton was entitled to some thing bette r an d that the theatre was not fulﬁlling the

the e th e e e ideals of giver, gave the imp tus to mov m nt

in 2 which resulted in a resident company 1 9 1 .

“ Th e ﬁrst directors of the company were Bertram

Bon ell N e B H arrison and Jessie st e of w York City . oth

r H M Bonstelle a and M . arrison and iss h ve had long

th e — varied experience in theatre manag ing, producing , — an d acting and fee ling that the establishment of one M unicipal T heatre would eventually lead to others and thereby help to place th e th eatre in this country on a

e e ee ﬁrmer foundation as an institution , th y wer d ply intere ste d in this pioneer movement and assumed th e directorship with enthusiasm .

“ A resident company of much more than ordinary ability pre sents a new play e ach week and only the best of the traveling companie s are booked in for an engage

o f one e the P ae e ment night , wh n l y rs rest or visit oth r

A o f e e towns . wide variety plays are giv n to pl ase all tastes and a new and adequate production arrange d for each play . Northampton and the surrounding towns are there fore being entertained with high - grade amusement at a minimum expense and this is due to the activitie s of the citizens of Northampton . The interest awakened throughout the country by M A S S . I I A TRE N oRTH A M PTON . Above M UN C PAL T H E , , H Co ntr N . A I F A I F I E . Be low T H E L TTLE T H EATRE O PL N LD , u y , l S e e ae atre r em o de e d r om atown h a. ( g Th e , l f l P

2 48 APPEND ICES

andal S You N ever Can Tell Th e S c , by heridan ; and

’ D evil s D is ci l e S Tr elawn e o the Wells p , by haw ; y f and

Th e Amazons P Th e Littl e M inis ter B e , by inero , by arri ;

M il es tones A Be The M orals o M arcus , by rnold nnett ; f ,

D on B Th e I m ortance o B ein by Locke ; , by esier ; p f g

E arnes t W Th e L earned Ladies M e , by ilde ; , by oli re ;

S is ter B eatrice M o f , by aeterlinck , and an adaptation

Th e Gr eat Galleoto E . , by chegaray

At the close of the sea son o f 1 9 1 6- 1 7 M iss Bonstelle

M r H e and . arrison retir d from the management , and

r M e e B h o e e M . e w have be n succeed d by lvill urk , had

his t w S . l T good ork to credit at the Louis Litt e heatre . I N D EX

Abb e h e atre 8 A l l th e om orts o a y T , C f f H ome S e e al s o r sh aer s l l ette I i Pl y ( Gi ) , 77 Lo r d and Lad 1 1 A l l e n ar ar b e r d e en et T . 1 0 8 A , y , 7 , M g , aham and s aac 1 1 2 A l tr s m Ettl n e r 2 A br I , 9 5 8 4 , ui ( i g ) , 3 , 35, 3

- A ccor d n to arw n . W ld e Amate r ome d l b 8 i g D i (P i ) , u C y C u , 77 7 82 A mate r s 8 1 1 1 6 1 1 u , 77, 4 , 9 , 9 5, , 2 , Act n 1 2 0 1 2 0 1 2 - 1 2 i g, 9 9 , , 3 3 4 r e at r ofe s s on al s m n l ed w th 1 G , 5 P i i g i , 57 S ch ool A maz on s Th e n ero 1 1 , 37 , (Pi ) , 77, 9 , A d ams ad e 2 0 2 8 , M u , 3 4 Ad e eor e 1 6 2 A mb t on Sh e r r 1 6 , G g , 3, 4 7 i i ( y ) , 4 ar s e ov n ton 1 1 A mer ca ass es B A nd rews M C i g , 9 i P y ( ) , ett e 1 6 1 2 1 N i , 9 51 33 m ab Bashvil l e T h e Am r an Ad r e , e c athors 8 1 2 i l i u , 4 , 5 , 5 Sh aw 1 8 Ame s W nth ro ( ) , 7 , i p A ter B r a e r e z 60 L ttl e h e atre ch ar act r 2 f u i l (P ) , i T , e , 5 A te rn oon h e atr e Lo nd on 1 0 L ttl e h e atr e in N Y f T , , i T ew ork A ass z h e atre 1 8 e stabl sh e d 1 g i T , 5 i , 5 ' A e o R eas on T h e o r r an N e w h e atr e 2 2 8 - 2 1 g f , ( D i ) , T , 3 8 A n ato S ch n tz er 2 88 1 0 8 3 l ( i l ) , 5, , , Ag l av ain e and Sélys ette ( M ae 1 58 te r l inck 8 A nce e or e ) , 3 y , G g , 3 Ak n s Z o e A n d r e w s A n n 1 i , , , 57 a cal t Th e 8 0 A n d r e w s h ar l ton M g i Ci y, , 33, 3 , 9 , C aa 1 1 8 H is ae s t th e oo 1 0 0 P p , 57, 5 M j y F l, S ch a har m n Yo n M an A nd r ew s K e n n e th u C i g u g , , 82 A me r ca as s es B 1 2 1 i P y , 5, 33 A l che m s t T he 1 8 1 A nd r e e ff Leon d i , , y , i , 3, 4 A l d s A rth r 1 2 1 L e o M an T h e 8 i , u , if f , , 3 ’

Ald s ar M r s . A rth r 1 2 1 Lov e o O n e s e hbor i , M y ( u ) , f N ig , 37 1 S ab n e W oman 1 6 2 5 i , 7, 2 ' as N 1 1 An d r ocl es an d th e L on Sh e o. aw C 34 , 7 i ( ) , Extr e me Un ct on 1 2 1 2 2 2 i , 3, 5 3 M at and th e Law 1 2 An l n ar ar e t 0 r s . P 2 , 5 g i , M g , 3 ' as or S ma S taes 1 1 1 An oth e r I n ter or anon 2 Pl y f ll g , , i ( ) , 9 , 1 2 4 37 e m er ame nt 1 2 An oth er Wa O ut Lan ne r 2 T p , 5 y ( g ) , 3 , A e ch em Sh o l om 6 8 l i , , 5 351 3 A l ex an d e r r ace 1 6 A nt ck T h e ackae 8 , G , 3 i , ( M y ) , 3 A ex n d M t n A nd ré a e r rs . oh n 1 1 A n o e l , J , 4 i , A b T h e O sbor ne 0 E x e r me n tat on li i, ( ) , 9 p i i , 3, 4 A l ce in W ond er land rste n L ttl e h e atre ex e r ment 2 i ( Ge i T p i , , ber 1 1 1 1 1 8 2 1 2 2 g) , , 57, 5 4 , 4 2 50 IND EX

' A nton and eo atra Sh ake B ake r E z abeth 1 0 y Cl p ( , li , 2 ar 2 0 B ake r - s e e . R 1 8 1 8 p ) , 3 , G , 3 9 “ ’ A l as e 0 1 B ake r s oz en 1 8 p p u , 9 , 44 D , 3 A r ab an hts 6 6 B al l ar d r ed e r ck 1 8 i Nig , 4 , 7 , F i , 3 A r ch e o o s t and th e Lad Th e B al t mo r e 1 6 - 1 6 l g i y, i , 9 7 ah ew 1 6 on ment S ar e 1 0 ( M y ) , 4 M u q u , 7 ' A r d uin R ce 1 W e st e nte r S tr e et 1 0 ( i ) , 37 C , 7 Ar an e and Bar be B e aete r Ban b r r os s B r e e r 1 1 i l u ( M u y C ( u gg ) , 4 l nck 1 Ban dbox h e atr e 2 8 2 0 i ) , 4 9 T , , 9 , 3 A r kel l R e n al d Ban k A ccoun t Th e Br ook 68 , g i , ( ) , , o mb ne 1 0 8 1 2 C lu i , 3 ' ms and Al Ban n n ar r t A r th e an Sh aw 1 ae . ( ) , 49 i g , M g C A r r ow make r T h e A st n 2 2 H e r S acr e d t 1 1 1 2 , ( u i ) , 9 , Du y , 4 , 4 V 2 0 B ar bar ans V e l lman 3 i ( ) , 53 A rt d h eatre 1 B ar n ar ce Guil T , 47 i g , M u i A rt h e atr e s 1 0 1 6 ath e r n e arr 1 0 1 0 1 0 8 T , 3, 5 C i P , 5, 7, , oscow 6 1 6 M , 5, 9 n ch 1 2 Bar ker r anv e 1 0 1 0 6 Mu i , , G ill , 4 7, 5, , etr o r ad 1 2 1 1 1 2 2 6 2 P g , 7 4 , 5 . 9 7, , 4 7 A r th r l a2 0 6 O n B r oadw a 2 2 - 2 u , Ju i , y , 3 33 A rth r s e l en S e e al s o o s man Lar ence u , H , 55 H u , u , A r t st Th e encken 1 2 1 an d r an v l l e B arke r i , (M ) , 7 , 73, G i 1 6 Bar n h e atr e 2 1 7 T , 5 ’ A rt st B ar n ar d ol l e 1 s d St. Lo s 1 6 e i Guil , ui , 3 C g , 7 A rts and r ats h e atr o f D B ar n sd al l A l n e 1 6 1 1 8 C f T e e , i , 5 , 57, 5

- troit 1 1 2 B ar r e S i r . M . 1 0 2 , 47 5 i , J , Scen e rom T h e tt L ttl e n s ter Th e 2 8 f Gli e r ing Gate i Mi i , , 4 i l k antal oon o . 1 ( ) , p p 74 P , 77 al nd 1 1 Arvo l d A . G . 2 1 0 2 1 1 2 1 R os l , , , , 3 i , 9 ' As You D o I t K nn e 1 6 w e v e - o nd L ook 1 1 2 ( i ) , 4 T l P u , 9 , 4 , As You L ke I t Sh ake s e ar 2 0 6 i ( p e ) , W l l T h e 1 i , , 42 ' Asch Sh o om B ar ron E l w n , l , y N ht 6 6 S e e B ate s or an and E w n ig , 3, 4 , M g , l y W th th e r r ent 8 B ar r on i Cu , 5 shw r B ar r mo r e Eth e 6 A o th . B 8 1 , G . , y , l , 5 ’ At ht A l l ats Ar e r a B ate s or an and E w n Bar Nig C G y , M g , l y ar l and 82 r on ( G ) , ’ t S Iocvs s H awkb r i e 1 2 M o ntan n k A 1 1 A ky ( dg ) , 3 u i Pi , , 9 '

B t . 1 r ae s O . 1 1 A e Em e . e e s se t A l W 6 ug i , il S Mu , , , 59 , ’ r e d d e and E m e A e r ol o o e s R un 1 61 1 6 f , il ug i P ly f P g u , , 3 A s t s oes H is Bit Sh aw Bar e th of th e Un te d State s ug u u D ( ) , y u i , 9 3 1 8 B e ach Lew s 1 8 7 , i , 3 ' A st n ar l od T h e 8 u i , M y C , , 33, 3 A r r ow maker T h e 2 2 2 0 R e t r n o th e r od a 1 2 , , 9 , 3 u f P ig l, 9 ' wake n n o N ar r ad in T e B ear T h e T ch eko ﬁ 8 1 A i g f , h , ( ) , 3 , 33 B m and L eb e rman 6 B ea o Bath Th e acka ( lu i ) , 4 u f , (M y ) , 1 I 42 . 79 ’ Bach e or of A rts d e r e e 1 B ee in a r on e s H w e A Par l g , 99 D , ( ah r e r mann ke r 2 1 2 B , H ) , oor F oo The 8 Be ethov en Fauch ois 2 1 P l, , 3 ( ) , 3

2 52 I ND EX

B r anch Anna . B bb es Br anch 1 , H u l ( ) , 46 B bb es 1 6 B d ae st 1 u l , 4 u p , 3 an ch R oad A ar and 1 6 B d d aro l B r ne . , ( G l ) , 4 u , C i H

B r and b sen 2 0 . on l r in S ht The 1 1 ( I ) , 3 y Gi l ig , , 9 r an d Lo se B fal o B , ui uf t a en tra 1 6 r amaLe a e ae rs 8 - Ci y H ll C l, 4 D g u Pl y , 4 85

Br e ed . L . L h th o s e 8 , D ig u , 5 am Th e 1 2 r e r e B l T h e . . oodman Pu p l D , , 9 ul y , (J F G ) ,

B r e . M . 2 0 1 6 gg , C , 3 5 ’ Br ew s ter s l l ons 2 B rd en o L e Th e 1 6 Mi i , 47 u f if , , 9 Br d e or t l ae rs 1 B r ke e l v l l e 1 i g p P y , 9 u , M i , 35 Br d n th e has m ar son B r kett h ar e s i g i g C ( C l ) , u , C l 2 1 2 B etw e en T w o Lin 1 es , 2 3 Br e x E en e 2 1 0 2 2 r e h Lo se and Ed ard i u , ug , , 4 , , 47 Bu l ig , ui , w r h o se aro l d 1 B e r stadt B ig u , H , 49 i Lon es ome L ke 60 1 2 1 2 n shment 1 1 1 1 i , , 4 , 5 Pu i , 7, 9 r ce o oa T h e 8 60 B rton R ch ar d 2 0 P i f C l, , 5 , u , i , 3 S r n in B ooms bur 1 8 B s h d o z mo 2 6 8 p i g l y , 7 u i ( I u ) , 3 , 34, 3 , 3 r ht or n n A nte ro S cen e o B ig M i g , ( Q ui ) , p p . 32 82 B nne r W tte r y , i L t l K n T C . S nn or n n A t e h e 1 6 f u y M i g , i i g , , 9 B r oadw a Jon es o h an 2 B - r od ucts atte r son 1 1 1 2 y ( ) , 47 y ( ) , 9 , 4 C , P P B r oken G od T h e l exn e r 1 62 , (F ) , B rook ow ar d ad e ron eor e , H C l , G g Ban k A cco n t T h e 68 1 2 L tt e S ton e H o s e T h e 1 u , , , 3 i l u , , 02 B roo ke R e rt al o rn a 1 6- 1 8 , u p C if i , 5 5 L th an a 8 1 02 1 6 al o th e ountan Th e i u i , 9 , , 3 C l f M i , Brookl n Re e rto r h e atr e 68 Ranck 1 1 y p y T , ( ) , 9 abr d 1 m e ass . 1 8 1 B rookv l l e en n . 66 86 i , P , C i g , M , 3, B r ow n A l ce am d en W ond er T h e ase , i C p , ( M Jo nt O wn e rs in S an 1 0 8 ﬁ e l d 8 1 0 2 i p i , ) , 7, S ar H o s e T h e 8 anaan b e rt ug u , , 3 C , Gil B row n ar r so n 1 62 Jam e s and John 1 6 , H i , , 9 B own Bod enh e m and S ah ie r and da Sh aw 1 r ( i p ) , C i ( ) , 33 1 1 ae Cod 6 3 C p , 4 ’ B r ow n e ar ce 1 0 2 - 1 0 8 2 1 atan B r ass bound s onv er s on , M u i , , 9 C p i C i K n o th e Jew s T h e 1 0 Sh aw 60 2 i g f , , 5, ( ) . 55, . 34 1 0 atan J n ks tch 2 7 C p i i ( Fi ) , 47 r i aaial . L L ttl e h atr e e stab sh ed in C e . i T e li g , I h cao 1 E e or an E e A n 1 C i g , 5 y f y , , 37 B row n n R obe rt ar l so n h ar l e s i g , C , C I n aB al con 2 0 6 B r d n th e has m 2 1 2 y , i g i g C , ar l t n B G a ass es 60 o orn . S ee ol ton u Pipp P , C , T , y, B r e e r r e d e r ck an d T om ar ton u g g , F i C l Ban bur r oss 1 1 arme l ath ew y C , 4 C , M R mor 1 1 ov n ct r e B r es e A u , 4 M i g Pi u u l qu , , ’ G t Awa r om I t 1 6 You Can t e y F , 4 arn e e n st t te ttsb r h 1 1 1 4 C g i I i u , Pi u g , 99 B r sse l s 1 ar r er e on The h otts u , 3 C i Pig , (P illp ) , B r ant Lo s e 1 2 y , ui 4 ame Th e ar te r nt 1 0 G , , 53 C , Hu ly, 5 I ND EX 2 53

Cas e No. A d s 1 1 nc n nat 1 6 34 ( l i ) , 7 Ci i i , 7 ast e S ar e h e atr e Boston t al l en tral Br and 1 6 C l qu T ( ) , Ci y H C ( ) , 4 1 8 1 2 2 2 v l z a t on E . o ok 1 1 4 , 9 , 5 Ci i i i ( C ) , 3 ath er ne ar r Bar n 1 0 l e an n h o s e 2 0 6 C i P ( i g) , 5, C i g u , 1 0 1 0 8 1 6 l e t l b S n n O rch e str a 0 7, , 9 C f C u i g i g , 7 ’ athl e en n i oo han (Ye ats l ev e l an l ah o se 1 - 1 C H li ) , C d P y u , 53 5 5 1 6 1 8 l nton al l 6 3, 7 C i H , 5 e nte n n al c e hom son and l e h e atr e 1 2 C i Cy l (T p C iq u T , 7 oth e r s 1 6 l oak o ) , 3 C f Di ony s u s ( Smi th and ent r T h e 2 1 V e h man 2 0 C u y , , 3 i ) , 4 en t r O e r a o m an 2 1 od T h e B e ach 8 C u y p C p y , 3 Cl , ( ) , 33, 3 h am n ar ar et ob r E l r e n ano . e A . C p y , M g C u , H oth n bu t on e 1 1 ol l ake - B e l e v e 1 1 N i g M y , 9 M y M i , 9 ha et o Pan Th e Stevens ocan e K n 2 C p l f , ( C i ( i g ) , 5 , 53 and R ce 2 0 oh a n . . i ) , 4 C , G M h ar ad e 2 1 B r oad w a Jon es 2 C , 4 y , 4 7 h ene Sh eld on ote d 1 1 o l l e a es L b n 6 C y , , qu , 5 C g u ( i i ) , 3 h cao o l l e e r l s C i g C g g i , 9 3 ne A rts B d n 1 0 o l o r 1 1 1 2 1 0 Fi uil i g , 3 C , , , 7 l l o se h e atr e 1 1 - 1 1 o l m ad r ac 20 2 Hu H u T , 5 9 C u , P i , L ttl e h e atr e o f h cao 1 B e tr aal T h e 1 1 2 0 i T C i g , 5, y , , 75, 76, 3 1 0 - 1 0 o l mb aU n v e r s t 1 1 8 1 3 9 C u i i i y , 7 ,

L ttl e h e atr e s o f 1 0 et s e . ol mb n e A r ke l l 1 0 8 i T , 3 q C u i ( ) ,

- W or ksh o h e atr e 1 1 0 1 1 ome l b . S e e Amate r p T , 4 , C dy C u u 2 20 Come dy Cl ub h cane Lo n d on 1 62 ome d h e atr e N ew York C i ( ) , C y T , , h l d r e n l as for 1 1 8 1 8 2 1 o mme rc al sm 1 1 2 C i , p y , , 3 , 4 C i i , , 3, 4 , 33 h ld r e n Bol ton and ar ton omm n s S axe C i ( C l ) , C i , 8 O b t ar T h e 3 i u y , , 53 h d r en o T o - M or r ow Th e omm n t aer s of on tcl ar C il f , C u i y Pl y M i , - N oo r e l eme nt 1 1 . . 8 ( M C ) , 4 J , 9 ’ h d r en s h e atr e h cao 1 1 8 omm n t th e atre s 8 1 82 1 2 2 C il T , C i g , C u i y , , , , h mes T h e M cFad d e n 1 2 2 1 1 C i , ( ) , 3 h n es e Lanter n A o sman om s l ton 1 0 2 C i , ( H u ) , C u (Mi ) , 1 on n e ct c t Val l e 1 5 C i u y , 9 3 h nese a on ro r ank C i p l y , 9 7 C y , F , 73 ho n ons c en ce at 1 8 C p i , 7 C i ( T f ) , 5 h i on s tan t L ov er T h e ank n C or e nn n h ar otte B . p g , C l C , ( H i ) , B etw ee n th e L n s 1 2 1 0 8 1 1 1 2 i e , 9 , 5 , 5 h r sten n R obe T h e Esta onte m or ar es S te el e 1 1 6 C i i g , ( C p i ( ) , 75, 7 on tr as t T h e l er 1 0 2 b rook 1 8 , ( Ty ) , ) , 7 C h r st an R d o h onvex r ror h e atr e of etr o C i i , u l p , 9 9 C Mi T P t ntas at r ar e r ad Ch r i s mas fa y P i i g . 7

W O . 1 6 a . l ah o se 1 2 o nw y , , 3 P y u , 3 C hr s tmas est T h e acka ook E l sh a C i Gu , (M y ) , C , i v l z at on 1 1 1 1 8 Ci i i i , 3 abe 1 1 h r stmas ste r a 1 0 6 N o S , C i My y Pl y, 4 ton s O u t o the os et 1 1 1 0 I 0 S ke l e f Cl , 4 7. 9 an d S s an l as e l Ch r istod or a o se 0 ook . C . , p H u , 39 , 4 C , G u G l 2 8 h now eth h l s S r ess ed es r es, 5 , 53, 9 , C y , P i lip upp D i 1 x n ss om 1 6 1 2 I 6 1 1 6. 78 O rag e Blo , 4 5 , 3. 74. 75. 7 2 54' I ND EX

a ac es 2 2 6 ancin K . o e o s . S oodman C p u , J qu , D g D ll ( G ) , T h éatr e d u V e x o omb e r 2 0 i u C l i , 3 1 1 ar an O l v e 3, 4 D g , i T . o e nh aen 1 S h e h er d T h e 6 60 C p g , 3 p , , 5 , Co ée r an o s D ar k Lad o th e S on n ets T p p , F c i y f , h e ate r nos ter 1 2 Sh aw 1 2 1 62 P , 4 ( ) , 4 , V o n ake r o r e monaTh e ar l n o th e od s T h e Be i li M f C , , D i g f G , ( 2 0 asco 2 3 l ) , 47 o e l n artmo th r amat c A ssoc at on C qu i , 5 D u D i i i , aR z s 1 I ord ov e n d e . S e e er ten C , i i G 9 31 9 7 b er A ce and R e n z d c ar tmo th Labo r ator h e atr e g , li , i i D u y T , Co r d ov a 1 9 3 or se ar as 1 6 C , M y Pl y , 9 an et Th e 1 1 o l c 1 - 1 M g , , 4 P i y , 9 3 9 5 o smo o tan sm 1 o l ar sh ow s 1 C p li i , 75 P p u , 9 7 o st o f man ten an ce 2 1 - 2 2 2 S e at n and r ce s 1 C i , 7 i g p i , 9 5 ’ ost me s 1 0 2 0 0 W ome n s arts 1 - 1 8 C u , 4 3, 4 9 , 9 , p , 9 7 9 ottae in th e Air T h e Knob au hte r o e av e n Th e 2 1 C g , ( D g f H , , 3 ach 2 0 av e n o r t B tl e r 2 6 l u ) , 3 D p , u , o ns el R e tan ed acka 1 av d Ch aim 6 C u i (M y ) , 79 D i , y , 4 o ntr robl e m l as 2 1 2 av d K n 6 C u y p p y , D i , i g , 5

- o ntr th e atr e s 2 0 2 1 av s R . . C u y , 9 5 D i , H ourt av or K mbal 1 1 ss v l z at on 2 1 2 C F ( i l ) , 9 Mi Ci i i i , l i B ow n W l d 1 Cou rte n e eor e s and e a D . e 88 1 62 66 , G g , (P i ) , , , tr ce d e H ol th o ir e ad S ou l S mons 1 6 i D ( i ) , 4 r v ate A ccou n t A 8 e an B as P i , , 3 D , il , 9 r acow L tt e h e atr e 6 ear e arted T h e o h ton C , i l T , , 7 D D p , (H ug ) ,

r aton . A . 1 2 6 1 2 1 2 8 1 0 1 1 3 , 33, 2 C f , J , , 7, , — 4 1 32 D eath A Dis cu ss i on (W oo d tr an r S tar T h e 1 ﬁ 1 S g e , , 33 r u ) , 32 r h ant r aton . A . Abb e c D eath o T intail es Th e M ae C f , J , y M , f g , ( and ark R e e d te r l inck 8 M ) , 3 S e a r d e 1 2 eb s s 60 1 0 2 P i , 3 D u y , , r a o r d on 1 0 1 1 1 61 ecor at v e d r ama1 1 1 2 C ig , G , 4 , 5 , 5 , D i , , Sc re e n s 6 e r ee for d r amat c w or k 1 , D g i , 99 r a r z e 1 8 1 2 e l l o d C ig p i , 4 , 9 D , Fl y ’ r ed tor s S tr n dbe r 1 0 8 K n A r th r s S ocks C i ( i g ) , i g u , 53 r er b N ht Bottom L on me A o A C i y ig ( ly ) , 44 g Ti g , , 53

r l e . . 1 6 e l h n e e c n e s e r r ck 1 0 8 C i y , T M 4 D p i D li (M i ) , r s n Le S ae 82 e l d ed r aon T h e Ed e r C i pi ( g ) , D u D g , ( g r t c Th e Sh e r d an ton and Van C o l ke nb u r C i i , ( i ) , 77 g ) , r t c sms 6 1 0 C i i i , 9 9

S e st on s for 1 8 env er o o . 2 ugg i , 7 D , C l , 43 Croke r B o sw orth etro t , D i Last S tr aw The 8 A rts an d r ats S oc et 1 , , 3 C f i y , 47

row . A and r ats h atr 1 e R 8 . r ts e e C ll , C f T , 47 Vae Th e 1 6 1 2 ll y , , 4 5 be scr e en s 1 0 e tsch e s h e atr e B e r l n 1 1 Cu , 5 D u T , i , ’ rtan c al s 1 ev l s s c l e Th e Sh aw Cu i l , 44 D i Di ip , ( ) , 1 1 2 9 , 48 D ad arr 1 2 1 62 evon sh r e aer s (P y ) , 3 , D i Pl y , 9

2 56 IN D EX

E ot S . A r . 1 1 62 E e or an E e A n Cariaial li , J , 59, y f y , ( g e ) , ol xe n a 1 62 l P y , 37 El z ab eth an Stae Soc e t Lon E v nd o th e s Si i g i y , y i f Hill ( g u rjéns d on 20 2 son 1 1 , ) , 9 0 , 9 2 E l s M a r s . v e l ock R eh e ar s a sc en e l i , H l op p . oth er s T h e 1 0 8 X 0 M , , 9 x Th e 1 0 8 Pi y , , S b ect on o K ez ah The 8 abr e am e u j i f i , , 5 , F , C ill , 3 60 1 0 8 aan . , F g , J D . El l sne r E d w ard 2 0 6 Ear T , , th, h e, 2 34 E l see d es B e ax A r ts 2 a et Em l e y u , , 3 g u , i , 3 E n e m es B o ce an d a oo d al r es 2 - 2 i ( y H p g ) , F i u , 4 3 44 arb k an s S . W . 53 F i , E n em o th e e o e A n bs e n O th er Vo ce T h e 1 2 1 2 y f P p l , ( I ) , i , , 5, 9 60 2 1 2 ath e ae r T h e oo d 1 8 , F i H l , ( M y ) , 7 E n aed lbert 1 1 1 1 al k A s t 1 g g ( Gi ) , 77, 5, 9 F , ug u , 3 En l an d L tt e h e atr e in et Fan and Tw o and l est cks A g , i l T , 7 C i , M acM il l n s e . a q ( ) , 4 3 En l sh 1 8 an c r e e o hton 86 1 2 g i 4 7, 3 F y F ( H ug ) , , 4 E r 1 ar - Aw a r n ce s s T h S d e e nn . 66 F e er i , P , y P i , ( u E r n t h n 1 1 mann 1 v e S . o 2 i , J , 5 ) , 4

- n l D ak . 2 1 1 2 1 2 Jae e 1 8 ar o . C gg , 7 F g , N , an an mo s L ov er 1 1 arm mor at a 2 1 M g i u , 9 F li y p l y , 3 x ed ar r ae 1 1 Fauch o is Mi M i g , 9 E stab r k B ee t ov n oo , A nne L . h e , 2 31 hr s te n n R obe T h e 1 8 eas t o th e o nnocents C i i g , , 7 F f H ly I ’ s l 1 E stoc Pol d . S e e Val cr oss W . I e 6 , , , ( l y ) , 4 ’ an d Po l d E stoc enn r ed er ck and R ch ard F , F i , i Ett n e r K ar r ce li g , l P y ’ ’ A tr s m 2 8 0 - o - M e - h mb 1 0 2 l ui , 3 , 35, 3 p T u , , E ug en i cal ly Sp eaki ng ( Goo d 2 1 2

man 2 1 2 e r n al d . B . ) . 9 . 37, 3 F , C E r d e s ar r ed W oman T h e 60 u ip i M i , , e c ba 1 62 e st v al s at th e e hbo rhoo d H u , F i N ig h en ain ar s 2 0 l ah o se - Ip ig i T u i , 3 P y u , 57 59 ed ea 1 0 8 e l et O ctav e 2 M , F ui l , , 9 r o an W omen T he 1 0 - 1 0 6 V l l ae T h e 1 2 T j , , 5 , i g , , 4 1 0 8 th ommand ment Fif C , E v er man Ste rl n 1 6 1 8 o hton 1 0 8 y ( i g ) , 5 , 5 ( H ug ) , Ev r ie nof ch o l as nch S ch oo l 2 0 6 , Ni Fi ,

er r eath Th e 8 1 n e r o G od Th e . W d e M y D , , 3 , 73, Fi g f , (P il ) , 1 76 1 46 h eatr e o th e S o T h e 1 r e and Water W h te 8 T f ul, , 49 , Fi ( i ) , 3 r J n T h S d r 1 es o S t. oh e e 76 Fi f , ( u Ew n ar ar et mann 60 i g , M g ) , R e e ct ons 1 tch l d e ﬂ i , 37 Fi , C y Ex er me nta th e atre s 1 0 1 1 0 atan J n ks 2 p i l , 3, C p i i , 47 Ex e r mentat on 1 2 l ame M an T h e W aker p i i , , , 3, 4 F , ( l ) , 44 ’ R e n h ar d t s 1 1 l exn e r orten s e i , F , H Extr e me Un ct on A d s 1 2 B r oken G od The 1 62 i ( l i ) , 3, , , 1 Vo ces 2 5 i , 44 I ND EX 2 S7

H akbrid a or st S h o T h e w e ) me, T h e Br ant Fl i p, ( g , G ( y ) , 53 8 1 62 ame o h ess Th e K. 8 . 4, G fC , ( Good oe r ste r e e r man 1 62 F , M y ) , am ’ O l d e d e l ber , 2 0 me r G u r ton s e ed l e H i g 3 G N , 43 al a F o 53 o te, Th e Lad r e or g G G ( y G g y ) , o l k h e atr e 1 1 F T , 7 oote S am e ard en o A a F , u l G f h, Th e 2 1 2 ll , 3 , 37 L ar Th e 1 1 ar d en i , , 9 h e atr e N ew Yo rk G T , , 64 , b s - Rob e rtso n S ir oh nston 6 Fo r e , J , 9 arl and aml n G , H i or b d d en r t Sm th 2 1 B r an ch R oad A 1 F i F ui ( i ) , 9 , 3 , , , 46 ar l an d Robe r G , t A ' o re gn o c , 94 t g ht A l l Cats A r e F i P li y Ni Gr ay, F o r sh er s T h e K nke ad 82 u Flu , ( i ) , 1 2 o b e r acl e Th e 1 4 D u l Mi , , 76 r ance A n ato e eor e r ace 2 F , l G g , G , 36

M an W h o ar r ed a u mb R e e r tor s e ason 2 - M i D p y , 34 2 35 W e T h e 2 2 e r man com a , , n e s 2 2 if 3 G p i , 6 r ance L ttl e h e atr e in 2 et er man 2 F , i T , G y , 44 L ttl s e . e h eatr e in 1 0 e t s q i T , e q.

r ank o rence K . e r stenbe r A c F , Fl G g , li e Jae 1 0 8 A l ce in W ond e r and 1 L i l , 1 1 R et r n o r os e r n e T h e 1 8 O v er ton e s 8 1 1 1 u f P pi , , 5 , 33, 3 , , 1 62 r e e o k Stae o f e r man 2 P ot- B o l e r Th e 1 1 2 0 F F l g G y , 44 i , , 4 , 6 r e e h e atr e 2 6 2 e r stenb e r A l ce and F T , 9 , 9 3, 9 , 44 G g , i , Ri enz i r e ed om R e e d d e o r d ov a F ( ) , 53 C r e b e ar l War ame T he 1 1 F y , C G , , 3 L eav e o A bs en ce 1 6 h os ts bsen 8 60 f , 9 G ( I ) , 3 , r o r n ce Th e 1 1 8 G iaco s a F g P i , , ch s eor e 1 2 S acr ed r o nd 1 Fu , G g , G u , 2 5 bson W l r ed Gi , i f W . W ae M r s . L man 1 ome n k n d 60 1 0 8 G l , y , 5 i , , al e Z o n a t o th e ar es Th e 0 G , Gif f F i i , , 6 lb W e hbor s Th e 8 8 1 1 e rt . S . N ig , , 4 , 5, 9 , Gi , 1 1 6 2 0 2 2 0 E n aed m ” 4 5, 4 , , 4 g g . 77. s. 9 al s alace e b r I l l . o r th Th e 1 1 G u g , P f T u , , 9 r amaLe a e e nte r 1 2 mal on and aatea 1 1 D g u C , 9 Pyg i G l , 9 L ttl e h e atr e 1 2 6- 1 S w e eth ear ts 68 i T , 33 , , 77 r ar e l ae r s 1 2 8 2 2 0 l l e tte W m. P i i P y , , Gi ,

r ar e l ah o s e o . A l l the om or ts o a ome P i i P y u p p C f f H , 77 1 2 6 e ld b th e E n e m H y y , 77 W h te o se 1 2 S h er l ock o mes 2 i H u , 7 H l , 47 lm r W h t o s al oon e A . . e e S o . i H u p p Gi , H 1 2 6 u Ed e o th e W or d T e 1 g f l , h , 32 l al sw or th oh n 1 1 mor e W . H . 2 0 6 G y , J , 9 3, 5 Gi , , Jo 1 r o the o d en W e st The y . 37 Gi l f G l , J s t ce 1 1 8 1 1 r Be asco 2 u i , , 9 ( l ) , 47 L ttl e M an Th e 8 l as ow L te r ar h e atre i , , 9 G g i y T , 9 eon T h e 1 1 1 2 1 2 as e l l S s an 2 Pig , , 9 , 9 , 3 Gl p , u , 5 S l v er B ox T h e 6 60 1 1 e o l e Th e 1 1 8 i , , 5 , , 9 P p , , 53, 49 , 7 S tr e 2 0 r es 2 8 x 2 if , 3 T iﬂ . 3 . 35. 3 . 5 2 58 IND EX

. a S ee as o ook . C and S s n r and S tre et N Y l , , u , e w o rk C G G , 54 l as l G p e l N eig hborh ood Pl ayh o u se tte r n ate Lo rd n s an Gli i g G ( Du y ) , o p p . 56 2 8 8 60 0 I 2 I 2 1 2 r and e mo l ar s 1 . 5 . . 9 . 9 . 3 . 4 . G Gui , P i , 3 1 1 1 62 r an a and D r v o il l i 5 , G i e g a (Lady

Scene o . 1 r e or 1 1 p p 74 G g y ) , 9 l or o th e or n n Leon ard G r an ich I rw n G y f M i g ( ) , , i ’ I I 6 2 0 I v an s H om e - om n 4 S. 4 . 4 C i g , 53 o d d ar d h ar l e s an d a r an n ame e o r r ence 6 G , C , P ul G y M u ( T ) , 9 cke r eat ath e r n e Shaw 60 Di y G C i ( ) , 59 , M an r om th e S ea T h e 1 6 1 1 6 1 1 f , , 9 , 9 od s o th e o ntan Th e r eat v d e Th e ood 1 G f M u i , G Di i , ( M y ) , 34, n s an 2 (Du y ) . 4 3. 77 4 7 oe th e 1 1 r eat G al l e oto T h e Ech G , G , ( e o d en A l e T he Lad r e ar a 2 8 G l pp , ( y G g g y ) . 4 or 1 r e ate r han the Law M o ﬁ at y ) . 37 G T ( ) , o d en oom T h e ns an 8 G l D , (Du y ) , 7 8 r e e k as e 2 0 4 3. 7 G M qu , 4

Scen e o . r e en oat T h e s s et and p p 44 G C , (Mu old e n oos e Th e 8 1 1 8 A e r 1 2 G G , , 3, u g i ) , 4 ood W oman A B e n n ett 8 r e e nw ch V l l ae l aer s 2 G , ( ) , 7 G i i g P y , 5 ood W oman Th e d d eton r e e n w ch V l l ae h e atr G , ( Mi l ) , G i i g T e 9 8 P l ayh o u s e ( w ith 73- 74 oo d man Edw ar d 6 r os e ct s G , , 3 P p u , 75 E en cal S eak n 2 r e et B en 1 8 ug i l y p i g , 9 , 37, G , , 5 1 2 r e o r L ad 1 0 2 1 1 8 1 3 G g y , y , 4 , , , 42 , S av or s 2 1 8 1 61 1 6 2 i , 9 , 3 , 3 , 9 , 4 7 aol a T oodman ame s . te h e 2 0 6 G , J F G G , , B l l T h e 1 6 o d en A l e T he 1 u y , , 5 G l pp , , 37 ood man l e s E ckert 1 8 r an aand D er v o il l ia 1 1 G , Ju , 3 G i g , 9

oo d man K . S . 1 1 1 R s n o th e o on 1 1 1 6 G , , i i g f M , 9 , 3 an c n o l s 2 0 S r ead n th e ew s 1 1 1 2 D i g D l , 3 p i g N , 9 , 4 , ust o th e R oad 1 6 1 6 D f , 4 3 ame o h es s T h e 1 62 r av e l n M an Th e 2 1 1 G f C , , T i g , , M an Can O n l D o H is B est A W or kh o s e War d T h e 88 1 1 y , , u , , , 9 , 1 2 1 6 2 1 1 1 1 3 4 , 9 ,

R ed a T h e 1 1 r e n . T . 2 2 1 Fl g , , 3 G i , J ,

S e e al s o ech t B en and K . S . n d e en d e nt h e atr e in Lon H , , I p T ood man d on G , 7 h G ifi T . d B n ec t r e s . 0 K . an ood man . S e 6 G , , H , C ,

er o o S anta ar a Th e 8 r sw o ld r ace 20 2 0 6. H f M i , , 3 , G i , G , 5, 1 1 r oov e T h e dd l eto n 1 62 3 G , ( Mi ) , oe m o av d T h e 1 1 r nd S d n e 1 0 2 P fD i , , 7 G u y , y y , d r s T . . e st ecto r 2 0 2 d . and W oo man K . S G , , Gu i , S tev e n s R and 60 1 1 6 aed o rn e r mann 2 0 y l , , 73, 7 H g , H , 3 oos e - r T h e 60 H amb r id e R th 8 1 G Gi l , , g , u , oo eh e r d and th e ob n Th e am l ton l aton 2 2 G s G li , H i , C y , 7 , 4 7 acka 1 1 8 Q ote d (M y ) , u , 9 7

ork ax m aml e n . . G y , M i H , J C Low er e ths 6 Waldies Th e 60 D p , , ,

2 60 IN D EX

H orm man ss 8 edda ab e r 1 0 8 , Mi , , 9 H G l , o h ton Stan l e 1 0 2 Joh n abr e Bar kman 60 H ug , y , G i l , e ar e arted Th e 1 1 2 l ar s o S oc et 1 1 D D p , , 33, 4 Pi l f i y , 9 ‘ an c r e e 86 1 2 R os me rsh l 1 F y F , , 4 o m, 0 8 th ommand me nt T h e 1 0 8 ce and c o k a 2 1 2 Fif C , , I l i F l Pl y , ‘ as te r o th e o s e T h e 1 2 ce l an d c l a 1 0 1 M f H u , , 4 I i p y , 9 , 9 2 o r ass T h e Y e ats 1 d eal s band T , ( h e W d H u Gl ) , 4 5 I Hu , ( il e ) , o s e ext oor Th e M an H u N D , ( 1 0 2 n e r s 1 0 2 d o th e S h o s A n ) , I y ll f p , (H echt and o s e o ar d d s A . W d e oo man 1 1 H u f C , (P il ) , G ) , 3 82 88 1 66 no s l e 1 0 , , Illi i if , 3 o sman Lar ence sl e ar sh al H u , u Il y , M h n es e Lante r n A 1 1 east o th e o n n ocen 1 C i , , 5 F f H ly I ts, 46 o sman Lar ence and r an I n aVest b l e 1 6 H u , u , G i u , 4 v l e Barke r mm r at on 66 i l I ig i , r n e l a2 1 1 8 m e r t n en ce o th e r eat r e Th e P u l , 5, I p i f C u , H ow H e L ed to H r s a Le n nox 1 2 i e Hu b nd ( ) , 4 Sh aw 1 1 1 2 1 62 I m or tan ce o B e n Ear n es t T h e ( ) , 77, 9 , 4 , p f i g , H ow Ve r S h ock n h om son W l d e 80 1 1 1 6 2 0 y i g ( T p ) , ( i ) , , 9 , 3, 4, 1 1 4 2 4 8 ow ar d B ronso n I n aBacon B rown n 2 6 H , l y ( i g ) , 0 O ld Le tter s 1 1 I n aVes t b e I sl e 1 6 , 9 i ul ( l y ) , 4 O n e o O u r r s I n A r Stoke s 1 8 f Gi l , 77 p il ( ) , 3 , 3 bbar d Lo s e I n or ms e R e e d 1 1 Hu , ui f Hi lf ( ) , 9 L l l ab T h e 1 1 I n H os tal ck n son 1 6 u y , , 4 pi (Di i ) , 4 ’ I n th e a a ar be rt e an 1 sh s d en . Sh aw Hu , J , 49 P G ( F ) , d son o l l an d 1 2 Hu , H 4 S h e h erd in th e stan ce Th e I n th e Van ard r ask 2 p Di , , g u ( T ) , 47 2 8 1 6 I n cao P er usal e m 60 9 . 3 . 5 f , 59 , o se l ae rs 1 0 n d e end ent h e atr e Lo nd on Hull H u P y , 3 I p T , , 7, n ance s 1 1 2 2 1 Fi , 7 O r an z at on 1 1 6 n d an al e 1 61 g i i , I i if , l as 1 1 1 1 8 n d an ao s L tt e h e atr e 1 P y , 7, I i p li , i l T , 59 R r t r 1 1 1 6 e p e o y, 9 3 ’ R e tat on an d to r s 1 1 n an tas B r thda Th e W d p u i u , 7 I f i y, ( il e ) , l l o s e h e atr e 1 0 S ee B r thda o th e n an Hu H u T , 54 , 3 i y f I f ta A ct v t e s 1 1 8 1 1 nter ior aete r nck 2 8 2 i i i , , 9 I (M li ) , , 9 , 1 0 6 A u d itor ium op p . 37 h ar acte r 1 1 nte r l d es C , 5 I u , 44 h ld re n 1 1 8 nt mate h e atr e at Stockh o m C i , I i T l , me S am 1 1 8 1 0 1 1 1 2 6 Hu , , 47, 4 , 5 , 5 , 3, 1 6 n tr d er T h e M aete r nck 7 I u , ( li ) , R n R s T 1 1 2 1 6 omace of th e o e, h e, 52 , 5 , 9 1 8 1 1 I h e n ain aur s E r d e s 9 , 9 p ig i T i ( u ip i ) , m e r d nck En e h art 60 2 0 Hu p i , g l , 3 r sh r amati sts I i D , 4 bse n 1 1 1 0 0 1 1 r sh aer s 8 1 1 62 I , 4 , , , 5 I i Pl y , , 9 , 4, 9 , , B and 2 0 H I 88 r , 3 9 3. 7. E n e m o th e e o e A n 60 r sh as 1 1 8 20 2 y f P pl , , , I i Pl y , , 1 2 r on r oss Th e Re iz enstein 2 I C , ( ) , h osts 8 60 ! G , 3 , 7 IND EX 2 61

rv n enr 2 2 Kair n o Koridw en Th e 60 I i g, H y , 5, 4 f , , 57, rv n l ace h e atr e New Yo rk Kammer s ie lhaus B e r n 1 1 I i g P T , , p , li , 2 2 6 Kans as t 1 6 - 1 6 9 9 . Ci y , 4 5 I t as to A dv er t se 2 K ans as l e 1 6 P y i , 47 if , 5 I tow ch o Kaat Bon d 8 , Mi i , 34 y ( ) , 7 ’ van s ome - om n G r a Kem ar r I H C i g ( p , H y n ch r od al S on Th e i ) , 53 P ig , , 53 M cD on al d K n d I v an th e ar n e n e . R . D i g ( ) , y , C 1 1 e r r bl e e e k T h e 1 9 T i M , , 32 mo ak d a K e n s al z e . D ak. 2 1 I u , T , N , 3 B sh d o 2 6 8 K en on l ark 1 1 u i , 3 , 34 , 3 , 3 y , C , 5 K nd l n 1 1 8 1 1 i i g , , 9 K er r B o al t acobs W . W . c c 1 1 J , y ( u i u ) , 9 ’ on ke s Paw Th e 1 2 K e tch c rtan 80 M y , , 4 up u i , 79 , Jae l r ank 1 0 8 K l l n r an l e A 1 (F ) , i i g T i g , 62 James and Joh n an aan 1 6 K mb al l A str d ( C ) , 9 i , i Jane e E rv ne 1 8 ou r t av or 1 1 Cl g g ( i ) , 7 C F , 9 Jans se n W e r s K nd l ng ( K e n on 1 1 8 1 1 , i i i y ) , , 9 W tch Th e 2 0 K n end l e ton i , , 3 i g , P aan 2 2 1 2 2 ocan e 2 J p . 3 . 4 3. 4 . 4 C i , 5 , 53

a B e ah E . K n A r imin es an J y , ul , 9 9 i g g d th e U n ’ Je hthas a hter 8 kn ow n lVar r ior n s an p D ug , 57, 5 , 59 (Du y ) ,

m K . e ro e . J , J 4 3 ’ aster o W ood bar r ow K n A r th r s S ocks e M i f , 77 i g u (D ll ) , 53 Jew e B ow T h e 60 K n o Camar and l , , i g f , 83 J e w sh l e 6 - 6 K n o th e Bl ack I s es T i if , 3 7 i g f l , h e e w sh l ae r s 61 J i p y , (Yar r ow ) 1 0 0 , J ewi sh p l ay s an d fe sti v al s at th e K ing of the Jew s Brown e 1 0 ( ) , 5, e hbo rh ood l ah o se N ig P y u , 57, 1 0 7 8 K n ston e r tr d e 6 5 i g , G u , 55, 5 , 59 John abr e Bar kman Ibsen L ttl e h e atr e Lo n d on 1 0 2 6 G i l ( ) , i T , , , 60 K nke ad l e ave s 1 8 i , C , 3

h s . R 1 1 1 1 J o n on . 0 0 2 o r us h er s T h e 1 2 , C , 5, 7, F u Fl , , 4 oh n son art n K J nne . B . , M y i , I M M 1 1 r . and r s . . R oe 1 0 8 A s You D o I t 1 P , , 7 , 46 oh n son R os amon d 0 J , , 7 K s s es o ar or e The ark i f M j i , ( T Jo n ed o eth er N o r d fe l d t i T g ( ) , 53 in ton 1 62 g ) , Jo nt Ow n er s in S an B rown i p i ( ) , K n cke rbocker h e atr e b d n i T uil i g, 1 0 8 N e w Yo rk 0 , 2 5

on e s . A . 1 0 0 J , H , Knob ach Ed war d 1 8 l u , , 3 R n 1 0 o ly efor m g H er s e f, 2 ottae in th e A ir 2 0 D l i l C g , 3 L ars T h e 2 ’ , , 34 M Lad s r ess 2 i y y D , 47 J on e s R . E . 2 8 6 1 2 2 , al s o B en n ett A r nol d and , , 47, 9 , 9 5, 3 S ee , , on son B e n J , Edw ar d K nobl au ch S ad 1 S h e h erd , 1 1 1 K mis arz h s V e r a p 5, 9 om ev ky , y , 7 Jord an al l B o ston 1 0 K r e mbou r A l r e d H , , 9 y g , f Jo al s w or th 1 y ( y ) , 37 L maB e ans G i , 53 ’ J st L v n Sh e r r 1 6 u i i ( y ) , 4 J st ce al sworth 1 1 8 1 1 Labor ato r h e atre of h e C ar u i (G y ) , , 9 y T t n eg ie I nstitute at Pittsbu rgh n 1 2 0 1 2 0 ahn O . H . 2 1 Act K , , 3 i g , 99 , , 3 2 62 IN D EX

L ard A eon W . E 1 d tor m o . 2 1 8 . u i iu pp , , 44 as rod ce d 2 0 2 - 2 0 l or o th e orn n 1 1 6 Pl y p u , 4 G y f M i g , 45, 4 , Stae and scene r 1 - 2 0 g y , 9 9 2 00 4 W ork and d e r ee 1 Le on or e ( Bjornson 2 1 1 g , 99 ) , Labo r ator th e atr e s 1 8 1 - 1 Le S ae y , 82 g arv ar d 1 8 - 1 2 r s n 82 H , 3 9 C i pi , La E Lew soh b . n A ce W . 1 ce y , , 39 i , li , 54 Lad o th e l Ve e in W Le w soh n r en e y f p g ill ow i , I , 54 r ee W ake r L ar T h e oote 1 1 T ( l ) , 4 3 i , (F ) , 9 Lad atr c a B e s e r 1 8 L ar s T h e on es 2 y P i i ( i ) , 7 i , (J ) , 34 ’ Lad W in d er me r e s Fan W d L b n Z almon y ( il e ) , i i , 88 ol l ea es 6 C g u , 3 Lake L cen s e d La or e st I l l . 1 2 1 w r en ce 2 8 2 F , , i ( ) , , 9 , 37 L ake or e st l ae r s 1 2 2 - 1 2 L eb e r man El as 6 F P y , 5 i , i , 4 Lake - L e be r man E l as o r e st l ah o se 1 2 1 1 2 . S e e B l m F P y u , 5 i , i u , ’ Land o e ar t s es r e T h e stav and E as L eb er f H D i , Gu , li i Y e ats 2 0 man ( ) , 3 L an L e o M an T e . W . h e A n d r e e ff 8 g , J if f , ( y ) , 3 r ar e W ol Th e 2 1 2 Sce n e r ont s ece P i i f, , F i p i Lan n e r Law r en ce L ht o e ce n c Th e M e rc e in g , ig fD y, ( ) , An oth er Wa O ut 2 1 6 y , 3 , 35, 38 4 S ee as o r h L en 6 e e os e n e A . l M y , J p i , illi , 3 and Law r e nce Lan n r L ma B eans K r e mbou r g e i ( y g ) , 53 L n aA m Lar s e n . P . 1 1 2 1 1 6 s es er s e l e r r l l , C , , i u H f (M i ) , Las t S traw T h e r ocke r 8 1 1 , ( C ) , 3 9 Las t V s t Th e S d er mann L n d e nn 2 i i , ( u ) , i , J y , 9 1 42 Lite r ary th e atr e s in Glasgow an d La h n G as r e ser 1 61 L v er oo l ug i g (D i ) , , i p , 9 1 6 L ter at r e Sch n tz e r 8 3 i u ( i l ) , 3 S n L th an a B roo k ce e o . 2 1 2 e 8 1 0 2 1 6 p p i u i ( ) , 9 , , 3 Law r e nce B as l L ttl e A r t h e atr e of al or n a , i i T C if i , L ce ns ed 2 8 2 1 6- 1 8 i , , 9 , 37 5 5 Law r n L ttl e n t atr f e ce . . o r h e e o ar o , H D i C u y T F g , M - H l . D ak. 2 1 1 r s . o r od 1 8 2 1 2 y , 5 N , L ead e r T h e 1 Sce n e r om T h e r ar e W o , 78 f P i i lf ’ L ead n R oad to on e a T he o . 2 1 2 i D g l , p p M acM an u s 1 1 L ttl e o ntr h e atr e s 2 0 - 2 1 ( ) , 9 i C u y T , 9 5 Lear n ed Lad e s Th e o er e L ttl e K n T h e B n n er 1 6 i , ( M li ) , i i g , ( y ) , 9 1 0 2 2 8 L ttl e M an T h e al s wo rth , 4 i , ( G y ) , L eav e o A bs en ce r e be 1 6 8 f (F y ) , 9 9 Le e h ar l e s L tt e n s te r T h e B ar r e , C i l Mi i , ( i ) , M S am s 2 8 r . on 1 1 p , 9 4 Le matr e e s L ttl e Pl ainﬁ el d h e atr e 2 1 i , Jul i T , 4

r o h ec 2 L ttl e l ah o se o f St. Lo s 1 P p y , i P y u ui , 34 L mo n 1 8 e e S ar ah C . y , , 55 3 L nnox L tt e R r al h e atr e r o s of e . , C G . i l u T g u p m er t ne n ce o th e r eat r e En l and I p i f C u , g , 9 Th e 1 2 L ttl e S ton e H ous e T h e Cal , 4 i , (

a . d e r on 1 0 2 S e e s o ch e n s R . S an d . ) l Hi , , C , L L ttl e h e atr e o f B rookv e G . e nnox i T ill ,

Lenox h e atre New Yor k 2 0 6 enn . 1 66 T , , P ,

2 64‘ INDEX

G oos eherd and the G ob n The M an Th e at 1 1 li , , , ( T f ) , 4 1 1 8 M an Can O n l D o H i y s B est, A

mb e Wit and Fin er kin 1 1 8 K . S . G o odman 1 1 Ni l g , ( ) , 3 M acka- ante L a M an r om th e S ea T y C ll , ili , 59 f , h e ( G o d M ackae erc d ar d and cke 1 6 y , P y Di y ) , 9 A nt ck T h e 8 M an in th e S tal l s S tro 1 6 i , , 3 ( u ) , 9 S am A v e rae 2 1 2 M an o est n Th e Sh aw g , f D i y, ( ) , omor r ow 1 0 0 1 1 T , 9 M ackae Stee e M an Wh o ar r ed a mb W e y , l M i Du if , az e l K r ke 1 1 T h e r ance 2 2 H i , 9 ( F ) , 3

ak. 1 an M cKin l e o nt . D 2 M Wh o ar r ed th e oon y C u y, N , 3 M i M , M acM anu s S e mas T h e ar kh am 1 6 , u ( M ) , 4 ’ Lead n R oad to one a Th e anac e s M od er we l l 1 1 i D g l, , M l ( ) , 9 1 1 anch e ster sch oo 9 M l , 4 , 9 M acM il l an ar anch e ste r l ae r s 8 , M y M p y , , 9 A ann r s Fan and Tw o and est cks e . . C l i , , M , J H o s e ext oor Th e 1 0 2 43 H u N D , , R os e Th e 1 2 an s e l d R ch ar d 2 2 , , 3 M fi , i , 5, 4 an sﬁ M cN au l l A l eth aV. 1 6 e M r s . R ch ar d 2 , 3 M ld , i , 4 7 M acNich ol Kenneth ae s V cto r 1 0 2 , M p , i , Pan M ar ch o r th Th e S e ar . 53 f T u , ( l e ) ,

M ad son W is . 1 I i , , 44 3S ad son S ar e o td oor er ar on ette l b h c ao 1 1 8 M i qu u p M i C u , C i g , fo r mance 0 ar onette com e d 82 , 4 M i y , M aete r l n ck ar ce 1 1 1 0 0 ar kh am h ar l otte i , M u i , , 9 3, M , C A l av aine and S él s ette 8 M an Wh o ar r ed th e M oon g y , 3 M i , A r an e and B ar be B e u 1 T h e 1 6 i l , 49 , 4 B e B rd 6 2 2 2 0 ar ks e an n e tte lu i , , 9 , 3 M , J , 9 eath o T intail es Th e 8 e r r e r r ckoo T h e D f g , , 3 M y M y Cu , , nter or 2 8 2 1 6 I i , , 9 , 37 7 ntr d er T h e 1 2 1 6 W e s h on e moon 1 6 I u , , 5 , 9 l H y , 7 M ar M ad aen e 2 1 ar l ow e l a 2 2 y l , 3 M , Ju i , 9 5, 4 1 ar r ae H a B rac e 0 S t. A nthon 2 s e e n A r r an ed Mi l y, 9 , 3 , M i g g , 8 1 6 A S tr o 8 2 0 6 3 , 7 ( u ) , 7, S ster B eatr ce 2 2 2 2 2 0 M ar r ae r o osal A ch i i , 3, 9 , 3 , i g P p , ( T e 8 ko 8 60 88 2 4 ff) , 5 , , M a ca t Th e Ak ns arr ed W o man T h e e r n ad g i l Ci y , ( i ) , 33, M i , (F l ) , 8 0 60 3 . 9 M a s trate T h e n er o ar s e ov n ton A d e 1 1 g i , (Pi ) , 77 M C i g ( ) , 9 L E r 1 ar sh r anan mo s ov er v ne a e L . M g i u ( ) , M , M i 1 1 S now - W h te 1 1 9 i , 3 an e t T he or s e 1 1 ons l s 1 1 M g , ( C ) , 4 T i , 4 M as ter o W ood bar r ow e ar ad aene aete r nck i f (J M y M g l (M li ) , r 2 1 ome ) . 77 3 M aitr e ate n 1 1 as e i e d oh n 1 1 P li , 9 M f l , J , 5 C er a am d e n W ond r T . r e te l n e h e 8 1 02 f Pi P i C p , , 7, M aor Bar bar a Sh aw 2 L ocked h est T h e 88 j ( ) , 34 C , , aker o r e ams T h e own r aed o Nan Th e 1 1 M f D , (D ) , T g y f , , 9, 0 8 1 0 8 1 2 1 1 8 6 , 9 , , 4 , 76 7 M al e son l e s M as se o roth e a , My y , D ’ B ack El l 8 60 1 6 R uraes Las 1 6 l , 5 , , 7 l , , 4 I ND EX 2 65

asse Ed ward r oov e Th e 1 62 M y , G , , ots and l aw r hts 8 r ad t on 1 2 1 6 Pl P y ig , 34, 3 , T i i , 4 , 4 ’ 1 92 Mid s ummer Nig ht s D r eam aster o th e o se Th e Shakes e ar e 1 1 8 2 2 M f H u , ( p ) , , 3 o h ton 1 2 es ton e s Be nne tt and ( H ug ) , 4 Mil ( Knob a n 1 C M as ter er r e te 0 2 . . ach 1 2 2 8 Pi P li , f l u ) , 4 , 4 atr e ate n ; e r r e ate l l e r e nr oted 2 2 8 M i P li Pi P Mi , H y , qu , l in l to n oh n Mi , J ath e r h ar e s om s 1 02 M , C l C u , Low e r R oad Th e 1 l w ake e 1 , , 33 Mi u , 44 ats o 2 n n e aol s 1 6 M u , 3 Mi p i , 7 atth e w s Br an d e r 2 nn e sotaUn ve r s t 1 6 M , , 7 Mi i i y , 7

tth s E t . 2 0 6 ac a on h W 2 2 r l e o S t. A nth on aete r M i , di , , 9 Mi f y ( M ah ew ab e l l nck 2 1 8 1 6 M y , M i ) , 9 , 3 , 3 , 7 A r chaol o is t and the Lad r acl e l as 1 02 1 1 62 g y, Mi p y , , 49 , Th e 1 6 s s v l z at on av s 2 1 2 , 4 Mi Ci i i i (D i ) , an e R th er ord tch e l L an d on M y , u f Mi l , g r on e Th e 1 1 N ew Yor k d ea Th e 2 D , , 9 I , , 34 R ed r 60 xe d ar r ae Erv ne 1 1 Tu f, Mi M i g ( i ) , 9 az e a 2 M o d e r w e l l 2 . K . M pp , 3 , H ed ea E r d e s 1 0 8 anac es 1 1 M ( u ip i ) , M l , 9 e d e v al th e atr e s 2 1 - 2 2 o e l l e r h l M i , 4 4 M , P i ip ’ ed c ne S h ow Th e W alke r e enas s band 8 1 M i i , ( ) , H l Hu , 33, 3 , 42 , 1 0 1 2 1 44 5 , 5 , 65 R ad o s e ncken . L. o h e in A r d en T h e 8 M , H u , , 3 A r t s t Th e 1 2 1 1 6 S s te r s o S z ann a 8 i , , 7 , 73, 7 i f u , 3 M e r ce in h ar l es T w o Bl nd B e ar s and O ne , C i gg L ht o e cenc Th e 1 6 Le ss B l nd 2 8 ig f D y , , 4 i , 9 , 3 e r ch ant A bb 1 2 6 1 2 8 1 2 M o tfat l ev e l and M , y , , , 9 , C H is W ome n o k 1 1 r e ater han th e Law 8 F l , 9 G T , 7 A ol er e S e l s . e a o r aton R . bb C f , J , y M i er ch ant and ark Re ed octor in S te o ms e M , M D pi f Hi lf, e r r ck Le on ard I 1 2 I 8 M i , 4 9 . 5 . 7 el h n e e cli nes 1 0 8 Lear n ed Lad es Th e 1 02 2 8 D p i D , i , , , 4 an ar l e r r l l W . . S el e 8 M i , F g , 3 L n aA m s es er s e 1 1 art e 2 0 2 2 0 i u H lf, 9 T uf , , 4 M e r r eath T h e Evr ie nof ol l ake - B e e v e ob rn y D , ( ) , M y M li ( C u ) , 8 x 1 1 1 3 . 73. 76 9 ’ S c n on ke s Paw Th e acob s 1 e e o . 2 p p 32 M y , (J ) , 4

er r e rr ckoo T h e ontc l ar . . omm n t M y M y Cu , M i , N J, C u i y ar ks ) 1 6 l ae r s 8 ( M . 7 P y , 9 e r r W iv es o W nd s or T h e onv e l B o tet d e 1 8 M y f i , , M , u , 9

2 0 oo d W . V. 3 M y , ath eaer Th e 1 8 e e r os e h n e A . and Law , , M y , J p i , F i H l 7 r n r eat v d e Th e 1 2 e ce Langn er G Di i , , 33, 47 R ed oak T h e 8 oon Lad T h e 2 Cl , , 3 M y, , 4 ch ae l s oond ow n R e e d 8 1 2 Mi i M ( ) , 3 , 4

S on o th e e o e A 2 1 oo r e Lou W . 1 0 8 f P pl , , 3 M , , d d e W e st 1 1 oo re - l e ment ad e Mi l , 3 M C , M u M d d l eton eor e 1 0 2 2 h l d r en o T o- mor r ow The i , G g , , 47 C i f , , od W oman Th e 8 1 1 G o , , 9 4 2 66 I ND EX

o r at l a 1 0 2 at o n asm M li y p y , N i li or al s o ar c s Th e Loc ke B r t sh th e atr e s M f M u , ( ) , i i , 9 2 8 r sh l ae r s 8 4 I i P y , o r an A n e s at r al s m 6 M g , g , 55 N u i , 3, 5, o r l e W al ter e ro l ae r s 6 - 0 M y , g P y , 9 7 B l n d W e A 1 6 e i hb orh ood ae r s of N ew i if , , 4 g Pl y M R ch oor an 1 6 ar k . . 0 i P , 4 , N J, 9 o r n n s d e aer s 1 - 2 e hbo r h ood l ah o se r and M i g i Pl y , 7 7 N ig P y u , G o rosco O l v e r 2 2 Str e et N ew Yor k M , i , 5 , , 54 o scow A rt h e atr e 6 E ment M T , 5, quip , 55

o sh e r . . E xte r or v ew s o . 6 M , J C i i p p 5 B or ed r e at art sts 6 , 53 G i , 5 S ace or th e E m e r or 88 r e at o n e - act l a 8 u f p , 53, G p y, 5 oth e r s Th e E l s 1 0 8 sto r et s e . M , ( l i ) , Hi y , 55 q o n tan n k A B ate s and r os e M u i Pi , ( Pu p , 54 Bar r on 1 1 R e e r to r 60 ) , 9 p y , 59 , M ov n ct r e B r l es e A S oc o l o cal as ect i g Pi u u qu , i g i p , 54 ar me 1 6 Y d d sh and ew sh l as an d ( C l ) , 4 i i J i p y l M n d M . R oe h nson e st as 8 r . a r s . o v P (J ) , f i , 57, 5 1 0 8 1 1 e hbor s T h e al e 8 8 , 7 N ig , ( G ) , 4 , 5, M am L 1 H 1 I 6 2 0 2 2 0 r . S s on 1 p ( e e ) , 9 9 . 4 5. 4 . . 4 M H d L w r n 1 8 ett e A d 1 r s . ol r o a e ce e 6 y ( ) , 5 N i ( ) , 9 M ar ar t l o n ec ht ev er th e l e ss l k r s . e ah W a e r M g C u ( H N ( ) , 44 and Bod enh e m 1 1 ev l l e ar r 2 0 6 i ) , 4 N i , H y , M at and t e L w A d s N e w O r l e an s 1 r s . P h a ( l i ) , , 79 1 2 N ew S in T h e ast n s 1 6 5 , ( H i g ) , 9 M ch Ad o Abo t oth n N ew e stament l a 1 0 6 1 0 u u N i g T p y , , 7, ake s ar e 2 0 2 2 0 1 0 ( Sh p e ) , , 3 9 n ch A rt h e atr e of ch s New T h e atr e N e w Y ork 2 2 Mu i , T Fu , , , 7 1 2 2 31

c ath eatr e s 8 Exte r o r o . 2 0 Mu ni ip l , 9 3, 9 i ( ill ) , p p 3

- orth am ton ass . 2 2 2 8 N ew Yo r k C 1r N p , M , 5 4 ( y )

- - a r s 61 t s e . w th il l . East W e st l e e ( i ) P y , q n r o A rth r r eenw ch V l l ae h e atr e Mu , u G i i g T , 73 B u t in 1 1 Wh er e 4 et s e q . s s t A l r e d d e m s 1 e L tt e h e atre of . A e Mu , f i l T W , 5

Wh ms 8 L ttl e h e atr e s 2 e t s e . i , 3 i T , 5 q s set A r ed d e an d E m e L ttl e h e atre s st 2 2 Mu , lf , il i T , li , A er e hborh ood l ah o s e ug i N ig P y u , 54 n at Th e 1 r e e o 2 et s e . G C , , 4 q ’ M La s ess K nob ach d r N ew h e atr . S t at t t e y y D ( l u ) , T e ee h i l

2 ortmante a h e atr e et s e . 47 P u T , 39 q ’ M Lad s onor emberton r ov ncetow n l aer s e t y y H (P ) , P i P y , 49 8 3 s e q . M ster as 1 0 1 0 6 h e atre W o rksh o 2 0 - 20 y y p l y , 5, T p , 5 7

Var o s co m an e s 68 e t s e . i u p i , q ,

- ath an M r s . A d e e 1 2 1 8 2 N , l , 7 , 73, 77 7 . 4 3 I W ash n ton S ar e aer s 2 7S i g qu Pl y , 7 T 1 1 S on o S o omon h e 2 6 e t s e . g f l , , 7 , 7 q at on a th e atr e 1 2 2 8 N ew Yor k d ea Th e tch e N i l , 77, I , (Mi ll ) , at ona T h e atre b n 2 0 2 2 N i l , Du li , 34

2 68 IND EX

an taoon Bar r e h l ad e h a Sch oo o f e s n P l ( i ) , 77 P i lp i l D ig , an tom me s 1 0 0 1 0 1 0 6 1 0 1 0 0 P i , , 5, , 9 , 1 1 1 1 1 1 62 1 2 1 8 h and e r er T he Sh aw 2 , 3, , 7 , 9 P il , ( ) , 5, ao o an d r an ce s ca h s 1 0 8 P l F (P illip ) , 2 0 h lb r ck A l l en 1 2 1 4 P i i , , aa Ak n s 1 1 8 h l A d ol 2 2 6 P p ( i ) , 57, 5 P i ip , f, ar ad se o f A me r ca 2 h l l s S te h en P i i , 9 P i ip , p ar ad s e R o ad 2 aol o an d r an ces ca2 0 P i , 9 P F , 4 ar s L tt e T h e atr e s i n 2 1 1 h l l otts E d en P i , i l , , 3, 4 P i p , arke r ec ar r er e on T h e 1 2 P , C il C i Pig , , 4 ’ B e e in a r on e s v e A 2 1 2 h l os o h er o th e A e O rchard D Hi , , P i p f pp l

ar ke r . T . oted 1 2 o e 1 2 P , H , q u , 3 ( H p ) . 4 ar r sh M axﬁ e l d 1 2 1 er r e ate l n 8 1 6 1 8 P i , , 4 , 4 Pi P i , 33, 3 , 3, 9 , ar r axwe l 1 8 P y , M l 9 D ad 1 2 1 aitr ae n aster 62 C . e t , 3 , f M P li ; M Pass ion p l ay at Ch ic ag o Littl e Pi er r e Pate li n h e atr e 1 0 6- 1 0 1 0 er r ot in th e l ear o th e oon T , 7, 9 Pi C f M aston eo r e R s 1 1 P , G g ( igg ) . 3 ’ obod s a hter 2 0 er r ot o th e n te owso n N y D ug , 3 Pi f Mi u ( D ) , ate r n os ter C o ée 1 2 86 8 1 2 1 2 P ( p p ) , 4 . 9 7. 9 . 4. 3 atter son d a 2 . r r ot th e o . e r P , J M Pi P ig l, 5 B - r od cts 1 1 1 2 e on T h e asworth 1 1 y P u , 9 , 4 Pig , ( G l y ) , 9, Pa and V r n a R o rt 6 1 2 1 2 ul i g i i ( y ) , 4 9 , 3

an e B . I . 20 2 2 0 6 ar s o S oc et bsen 1 1 P y , , , Pill f i y ( I ) , 9 abod s h e o e ne 1 0 0 1 8 n e r o A . W . P y, J p i P , 3 Pi , er T h e 1 1 8 2 2 2 0 A maz ons T h e 1 1 2 8 Pip , , , 9 , 3 , , 77, 9 , 4 Pe ar n V o et a s tr ate T h e , i l M g i , , 77 W d B r d s 60 S ch ool - m s tr es s T h e 1 1 il i , i , , 9 l h am Lar S w e et Lav e nd er e aD . 1 1 6 P , u , , 77 embe r ton M ax h nd er bo t Th e 2 0 P , T u l , , 3 o and st etoe 1 2 r e aw n e o th e W e s 1 1 H lly Mi l , 4 T l y f ll , 9 , emb erton r d ock 2 8 P , Mu 4 ’ M Lad s on or 8 nsk av d 2 6 y y H , 3 Pi i , D i , 5 , 5

enn n ton W m . ol l ar Th e P i g , , 34 D , , 53 e o e Th e l as e 1 r eas r e 6 P p l , ( G p ll ) , 53, 49, T u , 5 1 8 er The e abod 1 1 8 2 2 7 Pip , (P y) , , 9 , e ard A nn 1 6 2 0 P p p , , 4 3 a ass es Brown n 60 er ez s aac L . P , I Pipp P ( i g) , A ter B r a 60 ttsb r h 1 6 f u i l, Pi u g , 7 Ear or n n 60 arn e e n st t te of T ech nol ly M i g , C gi I i u H and S h e 6 o I e , 3 gy . 99 S ster s 60 Labor ato r h e atr e of Car ne 1e i , y T g f T h no o 1 e r k n s Em R . 1 0 1 n stit te o ec P i , ily , I u l gy, 99 M M ax 2 e rk n s r s . 0 P i , 4 W ood and r n cess T he 2 1 Sch oo of e s n 1 l P i , , 4 l D ig , 99 az tte mes 20 etro r ad L ttl e h e atr e s in ttsb r h e , P g , i T , 7 Pi u g G Ti 3 P e tr ou shka Pittsﬁ e l d Stock om an 2 2 , 57, 59 C p y, 5 ad e h a x T h e E l s 1 0 8 Phil l p i Pi y, ( l i ) ,

L ttl e T h e atr e o f h ad e h a Pl ainﬁe l d . H . 2 1 i P il lp i , , N , 4 9 9 - 1 0 0 Exte r ior v i ew of Littl e T h eatr e

as and ae rs 1 0 1 o . 2 6 Pl y Pl y , p p 4 I ND EX

a in O ne W ord A E an 88 Sce ne s 1 Pl y , ( g ) , , 4 , 42 O n e W or d l a Cf. P y Un p acked an d s et fo r ap e r l ae r s stat s 1 2 0 fo r m a P y , u , 9 , nce o p p . 44 S ee as o S al ar e s ost O ice Th e ao r e 8 l i P ﬂ , ( T g ) , 9 , ’ ae r s ro d c n o m an o f 1 Pl y P u i g C p y, 0 2 Lo s A n e l e s 1 6 P ot o Br ats 2 1 1 g , 5 f oth , A Y e ) ( , l ah o se of l e v e l and 1 - 1 P ot- B o l e r Th e e r s te nb e r P y u C , 53 55 i , ( G g ) , l aho s e of Lake or e st “ L 1 1 2 0 P y u F , , 4 , 6 1 2 1 - 1 2 otato s ack n 1 5 P i g , 9

W ld 2 - a n w th r e . e 8 r ar l y i g i i ( i ) , , e l ae r s 1 2 8 1 2 2 2 0 P F P P i i P y , 3 , 0 r ar e l ah o se 1 2 6 9 P i i P y u , as n anc e s 1 2 8 - 1 2 Pl y Fi , 9 h ar acte r ad ate d to th L ttl e l l n o s l p e I e , 1 0 1 1 C i i i if 3 , 3 Th e atre 1 1 8 I nte r o r 1 2 , 7, i op p . 6 onte nt 1 S al oo n tr ans fo rmed 1 2 6 1 2 C , 9 , , 7 l as an d l ae r s 1 0 1 R e e r to r 1 2 P y P y , p y , 3 l as or S mal S taes A d s r ar e W o l T h e Lan e 2 1 2 P y f l g ( l i ) , P i i f, ( g ) ,

1 1 1 1 S ce n e o . 2 1 2 , 24 p p l t r tt S ab n W n S e e S a P ayw r i i ng P e y i e ome . Fi r st Un iv e rsity Co u r s e in bin e W omen Ame r ca 1 8 r ce o oal T h e B r ho se i , 3 P i f C , ( ig u ) , eth od of te ach n 1 8 - 1 88 8 60 M i g , 4 5 , ’ l aw r hts h e atr e 1 r ce o O r ch d s Th e awk P y ig T , 47, 4 9 , 5 P i f i , ( H l ots 1 2 2 1 2 b r d e 1 6 P , , 3 i g ) , 5 l ots and l aw r hts asse r ce s o f ad m s s on 2 8 0 P P y ig (M y ) , P i i i , , 34 , 4 , 8 1 2 6 8 1 6 8 34 . 3 . 92 4 . 4 3. 4 7. s. . 83. 8 . 8 . e L né 0 1 0 0 1 0 1 1 0 1 1 1 1 1 Po , u g , 5 9 , , 4 , , , 6, oe W l am 20 2 1 2 8 1 6 1 0 1 1 8 1 60 P l , il i , , 3 , 4 , 4 5, 4 , , oe m o av d T h e oodman 1 0 1 1 P f D i , ( G 7 , 7 an d ech t 1 1 r nce S tr e e t ae r s o f R och e s H ) , 7 P i Pl y oet W r tes aS on Th e Sted te r 88 P i g , ( , man 1 r nce s s l aer s N e w Y ork 2 ) . 33 P i P y , , 43 oetaster 2 0 2 r nc e ton U n v e r s t 1 8 1 P , P i i i y , ’ oe t s ear t Bod enh e m 1 1 r vate A cco n t A C ourte l ine P H ( i ) , 4 P i u , ( ol and L ttl e h e atre in 6 an d H o lthoir 8 P , i T , , 7 ) , 3 o l ock A rth r r v ate th e atr c al s 2 0 2 1 P l , u , 79 P i i , , ’ ol o o e s R un Bates r z e s 1 0 1 1 1 P ly f P g u ( ) , P i , 3 , 4 , 49 1 61 1 6 r a 1 8 1 2 , 3 C ig , 4 , 9 ’ ” o l l s 2 r od al ol l T h e R us inol 82 P y , 7 P ig D , ( ) , P ol an n a 2 r od al S o n T h e Ke m y , 33 P ig , ( p ) , 53 ol x e n a E l ot 1 62 rofe s s on al s 1 P y ( i ) , P i , 34 oor oo T h e Bah r 8 r o r ams P F l, ( ) , 3 P g , 4 5 A n notate d 1 8 o r t an d O r e . 1 6 P l , , 7 , 3 t atr W ash n ton S ar e ae rs Po rtman e au Th e e i g q u Pl y ,

B e n n n s 0 0 c l s e . g i i g , 39 , 4 3 q

nte r l d e s rov ncetow n as s . 6 I u , 44 P i , M , 4 e r so nn e l 2 r ov n cetow n ae r s P , 4 P i Pl y ro r ams A ct n P g , 4 5 i g . 49 R e er tor A s soc ate membe rs 6 p y . 4 3. 44 i , 4 , 47 S n r om Th o d e n oom o st me s ce e f e G l D C u , 4 9 Ex e nses 2 1 - 2 20 opp . 44 p , 9 2 70 I ND EX

N ew Yo rk th e atr e R e ch e r Eman e 6 , 47, 49 i , u l , 5 O r an z at on 6 R e ch e r ed w 6 g i i , 4 i , H ig , 5 as ch ar acte r and co ntent R e nh ar d t M ax 6 6 2 2 8 Pl y , , i , , 3, 4 , 3, 5, 8 - 2 K amme r s ie lh au s 1 1 4 5 p , ro r ams 8 0 L ttl e h e atr e in B e r n 1 0 P g , 4 , 5 i T li , S tae 8 R iz e n st i El m g , 4 e e n, e r r ne l l a o sman and B arke r r on r oss T h e 1 P u ( H u ) , I C , , 7 2 1 1 8 O n r a 1 5, T i l, 7

r ce R ch ard . S e e e nn r ed R e nt 2 1 2 1 8 P y , i F , F , 7, e r ck an d R ch ar d r ce R e e rto r ex e r me nt 2 2 i , i P y p y p i , 3 n shmen t B r e h and B er R e e r tor s ste m 6 2 2 8 Pu i ( u l ig i p y y , 3 , stad t 1 1 1 1 L ttl e h e atr e and 2 6 ) , 7, 9 i T , 3 et l as 1 0 8 1 0 Re e rtor th e atre s in ene r al Pu p p p y , , 9 p y g , et h e atr e 1 1 8 2 2 - 2 2 Pup p T , 3 7 r l e r eam T h e B r e e d 1 2 R es cu e T h e Sm th 8 Pu p D , ( ) , 9 , ( i ) , 4 maon and aatea R etur n o r os er ne T h e Pyg li G l ( Gil f P pi , be rt 1 1 r ank 1 8 ) , 9 (F ) , 5 R et r n o th e r od a B ach u f P ig l ( e ) , ’ e en s E n e m es Th e nsan 1 2 Qu i , (Du y ) , 9 60 Rev es b S w or d a Th e 1 2 59 . y Pl y, , 5 ,

est on o orat A . 1 0 1 1 Qu i f M li y, ( P 9 , 9 W l d e 68 Ricco d e nci i ) ,

u il l cote h e atr e of o s M e . S had ow Th e 60 Q T H lli , , , ,

2 1 R ce . Y . 5 i , C n te r o A r d u in 1 Qui , 37 B r ht orn n A 82 R ce W al ac e ig M i g , , i , l

S n n n A . and W al or n 8 60 S ee S te v en s T . W u y M i g , , 5 , , , lace Ri ce Raab K h oor M an or e 1 6 ate M . 1 6 R c , , 3 i P ( M l y ) , 4

R ada o e s 0 R ch e . . (N y ) , 9 i , G P ’ R ad c l fe o e e 1 8 L ov e r s L ck 8 i f C ll g , 3 u , 3 R an e Ad a2 R chm on d l l o mm n t a i y , , 9 i Hi C u i y Pl y

- Ranck E . . e r s 82 , C , 79 al l o th e o ntan Th e 1 1 Sc e ne rom A S nn or n n C f M u i , , 9 f u y M i g an d al l t R E h e . o . 82 , l C p p Wav e s o or r e Th e 1 2 R d er o r eams T h e T 0 1 f T , , 9 i f D , (

R ebe r . H . 1 0 1 r enc e 6 , J , ) , 9 R e bo nd T h e Rob n son 1 2 R d e r s to th e S ea S n e 8 u , ( i ) , 9 i ( y g ) , 7, R ed l oak Th e e e r and 1 1 1 I C , ( M y 9 . 4 5. 49 Lan ne r 8 R s r etch e n g ) , 3 ig g , G

R ed l a Th e K . S . ood man er r ot in the e ar o the F g , ( G ) , Pi Cl f 1 1 oon 1 1 3 M , 3 R ed r an e 60 R e ame s W h tcomb 1 6 Tu f (M y ) , il y , J i , 3 R e e d oh n R s n o th e o on Lad r e , J i i g f M ( y G g r e e d om c r 1 1 1 6 F , 53 y ) . 9 . 3 oond ow n 8 1 2 R v al s T h e Sh e r d an ) 1 M , 3 , 4 i , ( i , 9 R d n T h e oe e d . W 2 ad in A r e e . 1 6 1 2 8 R o ho s e , M , , u , ( M l I n or ms e l 1 1 l e r 8 f Hi f, 9 ) , 3

S ee as o r aton . R . Abb Robertson on al d 2 02 l C f , J , y , D ,

ant and r R R rts n T . e rch ak eed ob e o W . M , M , Re e ct ons Ew n 1 S c o 1 1 ﬂ i ( i g) , 37 h o l, 9

2 72 INDEX

’ S choo or S canda Th e Sher Catan B rassbound s n l f l, ( i p i Co ver d an 2 0 2 8 s on 60 2 ) . 77. 3 . 4 i . 55. . 34 S choo of act n D ar k Lad o the S onn t T l i g , 37 y f e s, h e, S ch oo - m str ess T he nero 1 2 1 62 l i , (Pi ) , 4 , ’ 1 1 evi l s s c e Th e 1 1 2 8 9 D Di ip l , , 9 , 4 ’ S cr a o aer A Sard o 2 1 2 octor s l a T , ) e mm he 1 0 2 p f P p ( u , D Di , , , S ea T ch eko ﬁ 6 8 2 Gull ( ) , , 3 2 3 S ea r d e r aton erch ant r e at ather n e 60 1 1 6 P i ( C f , M , G C i , 59 , , , ad Re e d 1 2 1 n ) , 3 1 9 S ear e Kath e r ne H ow H e L ed to H e s b nd l , i i r Hu a , ar ch o r th Th e 1 r l r 2 1 62 M f T u , , 33 77. e. 4 . S e at n caac t 2 6 0 6 8 aor B ar bar a 2 i g p i y , , 3 , 4 , 4 , M j , 34 8 r 88 r 0 m M an o es t n Th e 1 1 54 . . . 9 5. 9 9 . 3. . f D i y , , 9 1 1 1 2 1 1 2 8 1 0 1 8 1 h and er e r Th e 2 1 0 8 5, , , 4 , 4 , 59 , P il , , 5, 1 60 1 1 1 8 2 1 2 S tae S oc e t 8 , 7 , 5, g i y, ’ S econd S h e herd s ae Th e You ev er Can e 1 1 p T l , , N T ll , 77, 5, 1 6 1 8 1 1 2 0 2 0 2 9 , 9 9 , 3, 4 , 48 S er mon on th e o n t at ar ce Shaw ar 8 2 0 6 M u M u i , M y , 3 , ’ B rown s L tt e h e atr e Chi Sh e l d on Ed w ar d 1 8 i l T , , , 3 T c ao o . 1 0 6 er h e 2 0 g p p Nig g , , 3 S ev en ts Th e W al ke r 0 S h e h erd T h e ar an 6 60 Gif , ( ) , 4 p , (D g ) , 5 , S anar el l e ol er e 8 S h e h er d in th e stan ce Th e g ( M i ) , 3 p Di , S had ow Th e Riccod enci 60 d son 2 8 1 6 , ( ) , ( Hu ) , 9 , 3 , 5

- Shad ow ar d e n o S h t E e Sh e r d an R . B . G f u y i , ow n r t c T h e T , 59 C i i , , 77 Shad ow o the G en Th e R v al s Th e 1 f l , i , , 9 S n e 2 0 2 0 S ch e m n Lie tenant T h e 1 62 ( y g ) . 3. 7 i g u , , Shad ow Water s Th e Y ats S ch oo or S canda Th e y , ( e ) , l f l, , 77, 1 1 2 0 2 8 0 8 , 58 3 , 4 S ham om k ns 1 Sh e r d an S are ( T p i ) , 49 i q u , 73 Sh ake s e ar e 1 62 S h er ock ol mes ette 2 p , l H ( Gill ) , 4 7

A nton and eo atra2 0 Sh e r r Lar a M r s . E . 1 y Cl p , 3 y , u ( 44 , A s You L ke I t 2 0 1 6 2 0 2 i , 4 4 , am et 6 2 2 2 A mb t on 1 6 H l , , 3, 47 i i , 4 ’ er r W v es o W nds or The J s t L v n 1 6 M y i f i , , u i i , 4 2 0 O n th e er 1 6 3 Pi , 4 ’ M d s mmer ht s D r am R o man ce 1 6 i u Nig e , , 4 1 1 8 2 2 Sh oe make r and the E v es Th e , 3 l , , O th e o 0 1 1 8 ll , 7 w e l th ht 1 1 8 2 0 Sh or e A cr e s er ne 2 T f Nig , , 3 ( H ) , 47 Tw o en t e men o Ver ona Si u r én s son oh ann G l f , g j , J 2 0 2 2 0 E v nd o the l s 1 0 1 2 , 3 y i f Hil , 9 , 9 ’ W n te r s ae 2 0 2 2 0 2 0 S lho ette a 1 0 1 0 6 1 0 i T l , , 4 , 3 i u p l y , 5, , 9 Shaw r ance s S v er B ox Th e asworth , F il , ( G l y ) , ’ I n th e as has ard en 1 2 6 60 1 1 P G , 4 5 , , 9 Sha m n t e r en an T orre nce w . B . 1 1 1 0 0 S o h ) , G , , i Cy i ( , Ad m r ab e Bash vil l e Th e 1 8 6 i l , , 7 9 A nd r ocl es and the L on 2 2 S mon s A st n i , 3 i , u i A r ms and the M an 1 ead S o l 1 6 , 49 D u , 4 A ust s oes H is Bit 1 8 S mon son Lee 2 ug u D , 7 i , , 9 , 33 and da 1 S m c t 1 1 1 2 - 1 2 C i , 33 i p li i y, 3, 9 , 4 , 3 4 IND EX 2 73

Sister Beatr ce aeter nck S te e e W . i (M li ) , l , D . 2 2 2 2 2 0 2 8 3, 9 , 3 , 4 on tem or ar es 1 1 6 C p i , 75, 7 S s ter s ( e re z ) 60 Ste r l n eor i P , i g , G g e S ste r s o S z an n a oe l e r 8 i f u ( l ) , 3 E v e r man 1 6 1 8 M y , 5 , 5 S ix Wh o as s Wh l e th e Le nt l s Stev s i i en T . W . 1 2 0 2 P , , 9 9 , B o l W alke r S e e as o d ) oo man . ( , 4 3 K . S and i l G , ,

S ke etons O ut o the oset E. l f Cl ( T . W . S tev ens ook 1 1 St v en s T e . . and W C ) , 4 , W , allace Sk nn er Ot s 2 0 6 R c i , i , i e S k e fects ha et o Pan Th e y f , 55 C p l f , , 20 4 S l av e T h e ow s e 1 1 o az A m et T 1 , ( T ) , 9 T p ul , he, 46 S ee n B eat Th e 6 8 Stock com an e s 2 2 - 2 2 6 l p i g u y, , 5 , 59 , 3, p i , 5 1 1 8 Stoc khol m nt mate h eatre 1 , I i T , 3

S oan . B . 1 1 2 1 1 6 Stoke s R ose astor l , J , , , P Sm th eor e a I n A r l 1 8 i , G g J y p i , 3 , 3 or b dd e n r t 2 1 8 S tr an er Th e Hirshbein 6 F i F ui , 9 , 3 , 3 g , ( ) , 3, V th and T . . h Sm . F . A e man 6 6 i , H , i 4 . 5 l oak o on s us T h e 2 0 S tr an e r S tar Th e raton C f Di y , , 4 g , ( C f ) ,

Sm th R ta . r i , i C 3

i k . R es c e T h e 8 Str av ns . F u , , 4 y , I , 57, 59 Sm th o l l e e 2 S tr e aswo rth 2 0 i C g , 9 3, 4 5 if (G l y ) , 3 S n er T h e Str ndber A st 1 1 1 02 ip , 53 i g , ug u , 4 , , , S n ow - Wh te arsh 1 1 r 0 i ( M ) , 3 7 Soc o o c a th e atr e s 1 0 1 1 r ed tors 1 0 8 i l gi l , 54 , 3, 5 C i , S on and e r Th e U n er 1 0 2 ol te ro e ct 1 H i , ( g ) , H p j , 3 S on o the eo l e A ch ae s S tr on er Th e 8 1 0 8 1 f P p , (Mi li ) , g , , 97, 9 , , 45, 2 31 1 76 S on o S o omon The athan Stron A st n g f l , (N ) , g , u i 66 1 2 1 6 r ms o O d h 8 , 7 , 7 D u f u , 7 S th o ern E . H . 2 0 S tr on er Th e Str ndber , , 9 5, 3 g , ( i g) , 9 7, S ov e Ramond 1 8 1 0 8 r r 6 y , y , 72 9 . . 4 s. 7 Sow e r b G ith a 1 1 St cken Edw ard 1 1 y , , 5 u , , R the r or d and S on 2 1 1 S ub ect on o Kez ah E s 8 u f , 5, 7, j i f i ( lli ) , 5 , 1 1 9 60 , 1 0 8 S e ckl ed B and o l e 1 6 S ch a har m n Yo n M an p (D y ) , 9 u C i g u g S e lman moth 1 8 Ak n s 82 p , Ti y , 9 ( i ) , S r ead n th e ew s Lad re S d ermann e rman 1 0 2 p i g N ( y G g u , H , o r 1 1 1 2 1 6 Far - Aw a r n cess Th e 1 2 y ) . 9 , 4 . 3 y P i , , 4

S r n in B l oomsb r Br r es o S t. John Th e 60 p i g u y ( ig Fi f , , ho se 1 8 Last V s t Th e 1 2 u ) , 7 i i , , 4 S uaw M an T h e R os es 8 q , , 247 , 9 S tae E xh b t 1 0 S ar o s e The B rown 8 g i i , 5 ug H u , ( ) , 3 Stae S oc et 2 2 S mmer co r se in l aw r ht n g i y , 3 u u p y ig i g , B e nn n 8 1 8 1 1 g i i g , 5, 9 r ov n cetow n ae rs S mme r S toc k om an 2 2 P i Pl y , 47 u C p y , 5, Stan s l av sk on stant ne 6 2 2 6 i i , C i , 4 , 5, ,

1 2 S umur un , 1 1

S tar s ste m 2 2 - 2 2 S nn or n n A ntero y , 3 4 u y M i g , ( Qui ,

Stat c d r ama 1 2 2 tr ans . b M acD onald 8 i , y ) , 5

Sted man H ow ard C . Br ht or n n A , f ig M i g ,

oet W r t s aS on The 1 Scene o . 82 P i e g , , 33 pp 2 74' IND EX

S r e s s ed es r es ook and T heatr e r an as Ne w Yo rk 2 2 6 upp D i ( C F c i , , as e l 2 8 1 2 h e atr e o th e S o l T h e Gl p l ) . 5 . 53. 9 . 5 . T f u , r 6 r r 1 6 r 8 Ev r ie n of 1 1 3. 74 . 75. 7 . 7 ( ) , 49 , 76 S tro A l r e d 1 0 2 h e atr e W o r ksh o T h New u , f , T p , e ( B r ace l e t T h e 2 0 6 Y o rk t 2 0 - 20 , , Ci y ) , 5 7 M an in th e S tal l s 1 6 h mbl e h e atr e 2 , 9 T i T , 44

ar r ae H as B e e n A r r an e d h omas A . E . 2 M i g g , T , , 4 7 ’ A 8 2 0 6 H e r us ban d s W e 1 2 1 2 , 7, H if , 3 , 4 O e n oor T h e 2 0 6 W hat th e octor O r d er ed 1 0 2 p D , , D , S w ed en L tt e h e atr e in 1 h om son l an , i l T , 3 T p , Ju i S w eet Lav en d er n er o H ow Ver S h ock n 1 1 (Pi ) , 77 y i g , 4 S w e eth e ar ts b ert 68 h om son ar ce 1 6 ( Gil ) , , 77 T p , M u i , 3 S w et lbert 1 hr e e e n e r at ons Romano 60 , Gi , 9 3 T G i ( ) , S mb ol s m 6 h nd er bol t The ne r o 2 0 y i , , 7 T u , (Pi ) , 3

S n e . M 6 1 6 ob t T h e B ook o y g . J . 4 . . 9 3. 9 T i , f, 9 7 R d e rs to th e S ea8 1 1 1 T oen sfe l d t K rt 1 i , 7, 9 , 4 5, , u , 37 1 T o en sfe l d t ar ar et 1 4 9 , M g , 37 S had ow o th e en Th e 2 0 ol sto Leo f Gl , , 3, T y , , 4 0 v I 1 2 7 Wh er e Lo e s, 1 8 o mor r ow ackae 1 0 0 T (M y ) , T at r 1 k ank O e n r . 0 8 om n s r f , , J , T p i , F ons c e n ce 1 8 S ham 1 C i , 5 , 49 M an T h e 1 1 ons l s ar sh 1 1 , , 4 T i ( M ) , 4 O th er D an T he 1 1 o az A m l et Th e Stev ens and , , 7 T p u , ( T e n n tes 1 1 R ce 1 6 Mi u , 3 i ) , 4 aor e R abind r an ath or r e nce R d e l T g , T , i g y ost- O i ce Th e 8 1 0 2 r an n amee 6 P ﬂ , , 9 , G y M u , 9 ake r T h e R s se l 1 6 R d er o r e ams T h e 6 T l , ( u ) , 4 i f D , , 9 ar k n ton Booth 1 6 S mon th e r en an 6 T i g , , 3 i Cy i , 9 K s s ar r T h e 1 62 s e o o e ow se . R . i f M j i , , T , J ar t e o er e 2 0 2 2 0 S l av e T h 1 1 T uff (M li ) , , 4 , e, 9 ax e s 2 1 8 T o h e atre of Boston 1 1 2 T , y T , 5, 3, ch akow sk 1 8 1 86 2 T i y , 59 3 , , 4 3 T ch e koff A nton 1 0 2 1 6 r ad t on d d l e ton 1 2 1 6 , , , 9 T i i (Mi ) , 4 , 4 B ear T h e 8 1 r ad t on s 2 0 , , 3 , 33 T i i , 5 arr ae r o os a A 8 60 r aed o Nan T he as e M i g P p l, , 5 , , T g y f , ( M 8 ﬁ l d 1 1 8 e ) , 9 , 1 78

S e a u l 6 8 r ask M r s . K atr n a G l , , 3 T , i e m er ament A d s 1 2 I n th e Van ard 2 T p ( l i ) , 5 g u , 4 7 T e n n tes at 1 1 r av e n M an T h e Lad Mi u ( T f ) , 3 T li g , ( y en or T h e W e d ek nd 8 ( Er e o r 2 1 1 T , ( i ) , 3 g y ) , e n ts o th e A r abs Lo r d D un r av e l n th e atr e 0 T f ( T i g , 39 , 4 s an 1 0 2 1 1 2 0 2 0 6 r e as r e n sk 6 y ) , , 5 , 3, T u (Pi i ) , 5 e r r bl e eek T h e Ken n ed r e l aw n e o th e W e l s T i M , ( y ) , T y f l (Pi 1 n e r o 1 1 2 8 32 ) , 9 , 4 e rr E en 6 2 2 r l es l as e l l 2 8 T y , ll , 5 , 4 T if ( G p ) , 3 , 35, 3 , e th e r ed S h e e W e sh 60 1 2 T p ( l ) , 5 han ks v n es t v a A T r im l et T h e W ake r T g i i g F i l, , 59 p , ( l ) , 4 3 h eatr e d e s A rts ar s 1 r o l s and r ess da 1 8 1 T , P i , 3 T i u C i , h eatr e d u V x o l omb e r r o an W omen Th e E r d es T i eu C i , T j , ( u ip i ) , ar s 1 1 2 6 2 2 6 1 0 - 1 0 6 1 0 8 P i , 3, 4 , , 5 ,

2 76 I NDEX

Scene r om The L e o M an W d e e rc va f if f il , P i l , ront s ece A ccord n to arw n 8 F i p i i g D i , 2 Scen e rom T h e err D eath aw n 1 66 f M y D ,

o . 2 n er o G od Th e 1 6 p p 3 Fi g f , , 4 Scen c nv e st t re 1 o s e o ar d s A 82 88 0 i i i u , 9 H u f C , , , , 9 , S ch oo l of act n 1 66 i g , 37 S cce ss N obl e Lord The 88 0 1 u , 33, 35 , , , 9 , 33, Wav es o or r e R and a 1 2 1 66 f T ( ll ) , 9 W e d ek n d r an k 1 1 1 00 l a n w th re 82 0 i , F , , P y i g i Fi , , 9 e n or T h e 8 est on o oral t A 68 T , , 3 Qu i f M i y, , W e e n e r r ot and Lau h n W l k n son N or man 2 2 pi g Pi g i g i i , , 3 er r ot Rostand 1 W l T h e B ar r e 1 Pi ( ) , 49 i l, ( i ) , 42 W l l an R t W in n ek ar an e m a . , i , M i F Bar bar ans Ed cated 1 1 i , 53 u , 9 W nsto n al m . W e l sh R . . S e C . 2 , G i , N , 44 ’ eth er ed S h e e 60 W n te r s ht Bo ce T p, i Nig ( y ) , 53 ’ W e l sh on e moon arks 1 6 W nter s ae Sh ake s eare H y ( M ) , 7 i T l ( p ) , W e sh l e 1 6 l if , 7 2 30 W e sh N at on a h e atr e W scons n Un v e r s t of 1 l i l T , 9 i i , i i y , 44 W e s s ex l ae r s W scon s n r amat c S oc et 1 P y , 9 i i D i i y , 43 W e st v ar o s L tt e h e atr e s in 1 6 , i u i l T , 4 1 1 W sco n s n a 2 e t s e . er s 1 q i i Pl y , 43 W e r ich ose h 1 2 W s cons n l as 1 y , J p , 7 i i P y , 4 5 W h ar h e atr e W tch T h e ans se n 2 0 f T , 47 i , (J ) , 3 What I t ets own T o W ash W th the ur r en t A sch 8 G D ( i C ( ) , 5 b rn 1 1 1 W o l e r re 1 1 u ) , 4 , 42 f, Pi , 3, What th e D octor Or d er ed W omen in th e W o rksh op Th ea h omas 1 0 2 tr e o f Yonke rs 8 ( T ) , , 3 What the b c Wants Ben W ome n k nd b son 60 1 0 8 Pu li ( i ( Gi ) , , ’ n ett 1 0 2 W ome n s arts me n in 1 1 ) , p , , 9 7, 9 8 Wh e r e B ut W ond er H at T h e echt and in A mer i ca! ( M u n , ( H t o 1 1 oodman 1 1 ) , 4 G ) , 3

- W h er e L ov e I s o sto 1 1 8 W ond er w or ke r, T h e W r h t (T l y ) , ( ig ) , Wh ch O n e ! Bo r et 1 2 1 0 1 2 i ( u g ) , 5 9 , 9 W h ms s se t 8 W ood l and ri n cess The Pet i ( Mu ) , 3 P , ( W h te e rv e k n s 2 1 i , H y i ) , 4

r e an d W ater 8 W ood r u ﬁ . Fi , 3 —, H h t o s e S aoo n 1 2 e ath A s c ss on 1 2 W i e H u l , 7 D Di u i , 3

1 2 W oo l cott A ex . 6 2 I nte r i or op p . 6 , l , 3 , 37 h mes Ran M cFad W o rke r - ae r s 61 62 Why th e C i g ( p l y , , W or kh o s e War d Th Lad d en 1 8 1 1 u , e ( y ) , 9 , 9 r e o r 88 1 1 1 2 1 6 W n K ate D . 2 1 ) , , igg i , , 5 G g y , , 9 , 4 9 W d B r ds Pe arn 60 2 1 1 il i ( ) , W l d e O scar 1 1 1 0 0 W orksh o T he atre in N ew Y o rk, i , , , p B r thda o the n anta 1 1 i y f I f , 43, 3 1 9 2 W o rksh op T h e atr e of Ch icago a r n ce Th e 1 0 8 h ar acter 1 0 1 1 0 H ppy P i , , C , 3, d e a s band T h e 1 0 2 e s and r ate s 1 1 0 1 1 1 I l Hu , , Du , , n B n Earnest Ex ense s 2 2 0 I mp or tace of e i g , p , T h e 80 1 1 1 6 2 0 2 8 ro d ct on 1 1 1 - 1 1 2 , , 9 , 3, 4 , 4 P u i , ’ R e e rtor 1 1 Lady Wind er mere s Fan, 88 p y , 3 I ND EX 2 77

’ W o rksh o he atre of Yonke rs O n Bae s S tr and 1 0 8 p T , il , P ot o B 83 f r oth, A , 2 1 1 W o r ksh o th e atr es S had ow Wate rs Th 1 0 p y , e, 8, r st 1 8 Fi , 5 5 r st in Ame r ca1 8 Ye l l ow ass or t Th e 6 Fi i , 4 P p , , 4 r ht L c Ye u e l l on ov an W ig , u y , D W ond er - w or ke r T h e 1 0 1 2 O u t o th e ar k 1 1 , , 9 , 9 f D , 4 ’ W s ian ski s L ttl e h e atr e in Y dd sh l as 62 e t s y p i T i i p y , 57, eq . r acow 6 Y d d sh th e atr e s 2 2 6 C , , 7 i i , Yok - Xi B e rn ste n 1 0 0 u ( i ) , Yal e r amat c l b 1 81 Yonker s W o rksh o h e atr e 8 D i C u , , p T , 3 Yar r ow S ar ah Yo r ska ad am 2 , , M , 37 ’ K n o th e B ack s es Th e You an t G et Aw a r om I t i g f l I l , , C y F 1 0 0 Br e e r H ( u gg ) . 4 Y an e l l Sh aw Y e ats W . B . 1 0 2 ou ev e r C , , 4 , N T ( ) , 77, ’ ath een n i oo han 1 6 1 1 1 1 2 0 2 0 2 8 C l H li , 3, 5, 9 , 3, 4 , 9 1 78 ’ Lan d o eart s es r e Th e Z araueta 68 f H D i , , g , Z or a s T ch , h e, 53

N O T E W O R T H Y D R A M A B O O K S

’ Cl ayto n HamiIto n s PRO BLEM S O F THE PLAYW RIGHT ’ Th i s is p robably e ve n m o r e i n te re s ti n g th an th e au th or s p op ular The ory of th e Th eatr e or th an h is S tu d ies i n S tag ecr att an d is som ewh at l on g e r an d m or e vari e d th an e i th e r ofi ts r d e ce ssors I t re re se n th p e . p ts e b e st of h is work for se veral

n . r e ce t y e ars n et . ’ ’ C o n s tan c e d Ar cy M ac kay s THE LITTLE THEATRE IN THE UNITED S TA TES A n inte n se ly in te re stin g bo ok o n th e m o st p ro misin g d e ve l op a h m e n t in Th e A m er c n e atre b ah h ath o r t . S h e i T , y ig u i y te l l s o fn e ar s x t ofth e se tt e th eatr e s n c d n s o m e th n f ly i y li l , i lu i g i g o th e r re ertor an d h as n te r e st n s e m e n tar dis c u i p y , i i g up p l y s s mn s of Th e N ew T h e atre T h e or th am to n M n c al h e atre , N p u i i p T , r or tc W th strat on s o f ld n s n R e e t e . b s c e e r e tc . p y , i illu i ui i g , y , , ’ “ an d full i n d e x . U n ifor m with th e auth o r s Co s tu m e s an d ”

e ner for A mate rs n e t. S c y u . ’ Kro w s s LA R DU IN A rth u r E. P Y P O CTIO N A M ERICA W th n mero s and n s a l strat on s an d l n e i u u u u u l il u i fu l i d x .

n et .

A n y would - be p lay wri g h t or actor ‘ ’ sh ould n ot roce ed u n til h e h as r e ad an d c ar eful ly d i g e ste d th s k h e r e i s n o t ad e al in th e r e al m of wr t n a i boo . t i i i g p lay or in th e art o facti n g th at I S n o t m ade p lai n an d val uabl e

full ofvi tal i n for mati o n . ’ Richard Bu rton s BERNARD S HAW : Th e M an an d th e M as k “ ! a e With I n d x f a tc . B th e auth or o H o w to S ee e . y Pl y ,

n et .

A r ch ibal d H end er son ath or of th e standard b o rah of , u i g p y ’ —“ s boo k T h e be s t n trod ct on to S h aw , c all s D r . Bu rto n i u i o o th e r b ook ve s an an a s s an d B e r n ard S h aw in p r i n t . N g i ly i study o fe ach p lay g e n iu s of si mp li city of e x p re s si o n ” n an d e ffe cti ve n e s s i n i n terp re tatio . ’ ’ O tto He ll e r s Le asin g s M INNA VON BARNHELM

A n illumi n ati n g i n trod u c tio n an d n otabl e tran slatio n . n et .

tr n s a n in i o t c E n s h e t tr e to th e I nd ependent: Admir able a l tio id mai gli . y u s p ir i t of th e o ri gin al . n P rofe s s or H e e r ma Ch r i sti an R eg i ster : A cc r ate ad r e aabl e . ll y ” u d o at b e c n gr atul e d . th e l i m r e ven i n S u n H is n v au ab e Jonathan H u bbar d i n B at o E g . i l l ’ ' tr an s l i tio L e ss m g s dr amatic mas te r p ie ce an d Ge r m an y s gr e ate s t ’ p c om e éy . W Th e Publi sh ers will s e n d fre e o n app li cati on th e i r D E S CR I P

T I VE L EAFL ET o r D RA M A Boox s . H E N R Y H O L T A N D C O M P A N Y Pueusnms NEW YORK