(1917) The Little Theatre in The United States

PREFACE
'HIS book aims to give a complete survey of one of
newest, freest, most potent and democratic forces

:he art of the American stage the Little Theatre,
lescribes the rise and influence of the Little Theatre
urope and subsequent rise in the United States.
its
^
description of every Little Theatre in the United
tes that the author could find is given, including the
ievements, special significance, policy, repertory, and

lie contribution of each one. Since the Little Theatre
/ement is a growing thing, changes in its history are
stantly taking place. It is in a state of transition
can only be written of in terms of transition,
n estimating the contributions of the various Little
:atres the author has striven to be as fair as possible ;
naturally, the Little Theatres ,that have made the

it
history and possess the most salient characteristics
e been given the most space. If a disproportionate
>unt of description seems to have been given to some
he important theatres, the critical reader is asked
less
emember that the amount of space apportioned was

n controlled by the amount of material received, in
ver to a questionnaire which was sent to such theatres
le author did not personally visit. This questionnaire
t with the
problems of policy, housing, finance, deco-
Dn, ensemble, and management. Sometimes inspir-
iii
37155^
iv PREFACE
ingly complete and detailed answers were received again, :
the replies, in spite of additional correspondence, proved
extremely meager.
The repertory of each Little Theatre has been
full
given wherever that repertory was made up of new, sig-

nificant plays, or plays readily available for use in other
Little Theatres. To a certain extent, repetition had to

be avoided, so in some cases the general trend of a thea-
tre's repertory has been indicated rather than giving the
whole repertory. And there are, of course, instances
where Little Theatres are so new that their repertory is
very brief indeed !
There is a Chapter on the Little Theatre's Cost of

Maintenance given in thp hope that cities not possessed
of Little Theatres will want to establish one. And there
is appended a Chapter on the Repertory System in
general.
The author wishes to express her thanks to the many
directors of Little Theatres throughout the country with-
out whose full and hearty co-operation this book would
not have been possible. Thanks are also due to the fol-
lowing magazines for their kind permission to reprint
material which has already appeared in their pages The :
Independent, The Art World, The Bellman, The Mid-

West Quarterly.
CONTENTS
CHAPTER I
'THE RlSE OF THE LlTTLE THEATRE

The Rise of the Little Theatre in Europe. The Free
... FAGB
1
Theatre of Andre Antoine. Lugn Poe. StanislavskTs

Moscow Art Theatre. Wyspianski's National Polish
Theatre. Madame Kommisarzhevsky. The Convex
Mirror Theatre, "ilise of the Little Theatre in Great
Britain. Movements Influenced by Little Theatres: The
Independent Theatre. The Stage Society. The Irish
Players. The Manchester Players. Welsh National
Theatre. Literary Theatre of Liverpool. Proposed
Literary Theatres of Birmingham, Leeds, Sheffield,
Bristol. The Glasgow Theatre. Wessex and M'Evoy's
Players. Afternoon Gertrude Kingston's
Theatre.
Little Theatre. Max Reinhardt and the Kammerspiel-
haus. The Munich Art Theatre. Strindberg and the
Intimate Theatre. V Other Little European Theatres.
Jacques Copeau. The Theatre du Vieux Colombier.
The Rise of the Little Theatre in the United States.
Its Growth. Achievements. Diiferentiation. Promise.
CHAPTER II
THE LITTLE THEATRES OF NEW YORK CITY . 25

Winthrop Ames' Little Theatre. The Bramhall Play-
house. The Washington Square Players. Stuart
Walker's Portmanteau Theatre. The Provincetown
Players. The Neighborhood Playhouse.
* -"
CHAPTER III
THE LITTLE THEATRES OF NEW YORK CITY (Con.) 61

The Brooklyn Repertory The-
East-West-Players.
atre. The Negro Players. The Morningside Players.
The Greenwich Village Theatre. New York's Amateur
Comedy Club.
V
vi CONTENTS
CHAPTER IV
PAGE
OTHER LITTLE THEATRES OF THE EAST . . 79
The Richmond Hill Players. The Workshop Theatre
of Yonkers. The Drama League Players of Buffalo.
The Little Theatre of Rochester. The Prince Street
Players of Rochester. The Community Players of Mont-
clair, N. J. The Neighborhood Players of Newark,
N. J. The Bridgeport Players. The McCallum Theatre
of Northampton. The Little Theatre of Philadelphia.
"Plays and Players" of Philadelphia.
CHAPTER V
THE LITTLE THEATRES OF CHICAGO . . . 103
Maurice Browne's Little Theatre. The Workshop
Theatre. The Hull House Theatre.
CHAPTER VI
OTHER LITTLE THEATRES OF THE WEST . . 121
The Lake Forest Players of Lake Forest, 111. The
Prairie Playhouse of Galesburg, 111. The Little Play-
house of St. Louis. The Little Theatre of Duluth.
The Wisconsin Players of Milwaukee.
. CHAPTER VII
OTHER LITTLE THEATRES OF THE WEST (Con.) . 147

The Arts and Crafts Theatre of Detroit. The Play-
house of Cleveland. The Little Theatre of Los Angeles.
The Little Theatre of Indianapolis. The Harlequin
Players of Kansas City, Kan. The Little Theatre of
Erie, Penn. The Little Theatre of Brookfield, Penn.
Movements toward Little Theatres in Minneapolis, St.
Paul, Pittsburgh, Cincinnati, and Portland, Ore.
CHAPTER VIII
THE LITTLE THEATRES OF THE SOUTH . .169

The Vagabond Theatre of Baltimore. The Drama
League Players of Washington, D. C. The Little The-
atre of New Orleans. The Little Theatre of Louis-
ville, Ky.
CONTENTS vii
CHAPTER IX
LABORATORY THEATRES
Harvard's 47 Workshop Theatre.
.......
The Dartmouth
PAGE
181
Laboratory Theatre. The Laboratory Theatre of Car-

negie Institute at Pittsburgh. Grace Griswold's The-
atre Workshop.
CHAPTER X
LITTLE COUNTRY THEATRES
The
.....
Country Theatre of Fargo, N. D. Other
Little
209
Little Country Theatres. The Little Plainfield (N. H.)

Theatre. The Quillcote Barn Theatre, Hollis, Me.
CHAPTER XI
COST OF MAINTAINING A LITTLE THEATRE . . 217
Individual Problems Confronting Little Theatres.
Seating Capacity and the Theatre Tax. Putting a Little
Theatre on a Club Basis. Gleanings from the Expense
Accounts of Little Theatres. Reducing the Theatre
Budget. Knowledge Required for Keeping down Ex-
penses.
CHAPTER XII
A WORD ON REPERTORY THEATRES IN GENERAL 223

Need Repertory Theatres. The Star System.
for
Stock Companies. The New Theatre. Granville Barker
on Broadway. Grace George's Repertory Season. The
Little Theatre and Repertory.
APPENDICES
1. The Little Theatre in Mediaeval Times . :. 241
2. Little Theatres thatHave Failed . . . 243
3. The Municipal Theatre of Northampton (Mass.) 245
LIST OF ILLUSTRATIONS
The Washington Square Players, New York.
Andreyeff's The Life of Man .....
Sene from
Frontispiece
FACING
PAGE
The Washington Square Players in Evrienof's The Merry
Death, and in Bushido *
.
.32
Scene from Lord Dunsany's Golden Doom as produced at
Stuart Walker's Portmanteau Theatre, and the Port-
manteau Theatre unpacked and set for a performance .
44
The Neighborhood Playhouse, Grand Street, New York .
56
The Greenwich Village Theatre, New York City . . .
73
The Community Players of Richmond Hill, Long Island, in
Quintero's A Sunny Morning 82
Christmas Silhouette at Maurice Browne's Little Theatre,
Chicago, and Part of the Interior of the Hull House
Theatre, Chicago 106
The White House Saloon, Galesburg, 111., before and after
being remodeled into the Prairie Playhouse . . . 126
Inside the Arts and Crafts Theatre, Detroit, Michigan . .
148
Scene from Lord Dunsany's Glittering Gate at the Arts and
Crafts Theatre, Michigan, and scene from Ryland at
the Vagabond Theatre, Baltimore, Md 174
Professor Baker's Workshop Theatre at Harvard. A Re-
hearsal of Sigurjonsson's Eyvind of the Hills . . .
190
Theatre of Carnegie Institute, Pittsburgh, Penn. Studio for
Scene Painting and Costume Room 200
Scene from Theodore Dreiser's Laughing Gas as produced at
the Little Theatre of Indianapolis, Ind. and Scene from
;
The Prairie Wolf by John B. Lang as produced at the

Little Country Theatre, Fargo, N. D 212
Woodland Setting designed by Maxfield Parrish for the
Little Country Theatre of Plainfield, New Hampshire .
214
Auditorium of Carnegie Institute Laboratory Theatre, Pitts-
burgh, Penn 218
The New Theatre, New York 230
The Municipal Theatre of Northampton, Mass., and the Lit-
Theatre of Plainfield, New
tle
Theatre" Remodeled from a Town Hall ....
Hampshire, a "Country
246
CHAPTER I
THE RISE OF THE LITTLE THEATRE

i
f
THE newest and most vital note in the art of the
J
United States today is struck by that arch-foe of com- '
mercialism the Little Theatre. The very name Little
Theatre 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 :
where unusual non-commercial plays are given a theatre ;
where the repertory and subscription system prevails;

"
where scenic experimentation is rife ; where How Much
"
Can We Make ? is not the dominating factor.
~*~
Little Theatres are established from love of drama, not
from love of gain. Their workers are all drawn together
by the same impulse they are artists, or potential artists
in the craftof acting, of playwrighting, of stage decora-
tion or stage management. These are the definite traits
of Little Theatres the world over.
Little Theatres may differ as to size their seating
capacity may be seventy or three hundred. But they do

not differ in their main characteristics. One and all
they are exponents of the repertory system; and last,

and most important, they are always centers of experi-
2 THE RISE OF THE LITTLE THEATRE
.
mentation. For experimentation is the Little Theatre s
raison d'etre.
The Little Theatre movement is often spoken of as a
new movement; and it is new as far as America is
concerned; for its rise in this country began in 1911-

1912. The initial idea of the Little Theatre came to us
from Europe. Its inception goes back ^1887 when the

first small experimental theatre was established in Paris
by Andre Antoine \i 37 Elysee des Beaux ArtsJ/ Jules
Lemaitre's description of that blustery October evening

has since become famous: "We
(the critics) had the
air ofgood Magi mackintoshes seeking out some lowly
in
but glorious manger. Can it be that in this manger the

"
decrepitand doting drama is destined to* be born again!
Lemaitre's words were prophetic. Had he been, in his
more prophetic, he might have pointed out
feuilleton, even
thajxAndre Antoine by establishing the first genuine Little

Theatre the world had ever seen was to influence the
art of the stage more profoundly than any man of his
generation./-
" "
The term lowly but glorious might have been used
yto describe Antoine himself: a man of the people, begin-
ning his career as a clerk; a man imbued with a pas-

sionate yet clearsighted love of the stage; a man filled
with an enthusiasm for the art of the theatre so great

that he was able to enkindle all those with whom he
came in contact, whether clerks and artisans who wanted
to act, or men of great gifts who wanted to write
(or were writing), plays men such as Eugene Brieux,

1
See Appendix I.
THE RISE OF THE LITTLE THEATRE 3
Camilla Fabre, Pierre Wolf, and George Ancey. All

this Lemaitre might have seen, had he possessed the
crystal of futurity. And more. He might have glimpsed

that this young man, beginning as a humble clerk, was
to wear in later years the coveted Legion of Honor for
his services to the French theatre.
Be that as itmay, when Lemaitre and Faguet, with

"
some of their brother critics stumbled down the dark
" "
passage of No. 37 they felt that it was an occasion."
" "
And they were not wrong. /Antoine's Free Theatre
was destined to be as great as it was little! It estab-
lished once and for all the idea of intimacy between
players and ~au3Tence ;

it thrust under foot the idea o?
aim oflKeT theatrical manager]
for Antoine regarded the theatre as Max Reinhardt does
"
today, as a house, jiL. vision." Antoine sought sim-
plicity of effect rather than ornateness. His theatre was
a dramatic laboratory in the true sense of the word,
j
Artistic experimentation was the soul of Antoine's
theatre. From the first it eschewed commercialism. It
was never run for profit. audience was a subscrip-

Its
tion audience, exactly as are the Little Theatre audiences

"
of today. ^The plays Antoine produced were criticisms
"
of life as against the well-made play of the Scribe or
Sardou school. They were as new and strange to the
audiences of those days as are the plays of Andreyeff
to the audiences of the present. They were naturalistic
plays, given in a naturalistic manner. That in itself
marked a new epoch in stage development. The whole

naturalistic art of the theatre as we know it today dates
back experimentation of Andre Antoine. He pro-
to the
duced the then revolutionary plays of Ibsen, Strindberg,

v
f Tolstoy, and Brieux. He had an unbounded appetite
for the absolutely new, the
vital^he
libertarian. He
shut the door in the face of tradition and gave false
romanticism its deathblow. (By his daring, his rest-
less searching, his fearless producing, he made possible

the Little Theatre as we know it today.
\ A has recently said: "The Little Theatre is
critic
> the one thing that has happened in the history of the
stage in the last thirty-five years." Indeedythe whole

" "
new art of the modern stage, lighting, color, styliza-
tion, synchronization, has been made possible through
the Little Theatre. Without the impetus of the Little
Theatre there probably would have been no Gordon Craig,
>noStanislavski, no Reinhardt. Andreyeff, Strindberg,
Synge, Yeats, Lady Gregory, the Irish Dramatists, the
"
Manchester school," all these and their quickening
influence might not have taken the place they hold today
were it not that the Little Theatre made straight the way
for them. That is to say, without the Little Theatre, the
/"finest one-act plays of Europe might never have been

"
written, since for years there was no place for the short
"
story of the drama save in the large theatres where
it was relegated to the part of a mere curtain raiser/or
in the vaudeville theatres where it was forced to nave
either farcical or melodramatic qualities if it was to hold
its own. The Little Theatre gave the literary one-act
play, the play of characterization and style and nuance a

chance to live.^N
It has been claimed that the Little Theatre does not

foster great acting. But this, even in the time of Antoine,
it never pretended to do. In
small compass there is
its
no space for the vast, the heroic, the impassioned, the

" "
mountain of flame blown skyward that great acting
is, and always has been. But when was great acting ever
fostered or taught? The gods appear, or they do not
appear. Bernhardt, Duse, Coquelin, Irving, and Mans-
field, were not created by any special theatre or set of
theatres. A fine ensemble jhat .shall worthily and truth-
fully express the idea which the author wishes to have
expres&ed tfiis. is Jhe_.acting-ideal oLAcjJEfe-S^S^

And when the great actors of the future appear they will 9
find that through the influence of the Little Theatre

there is a more appreciative audience waiting to receive
them, and an inscenation worthy of their gifts. Mean- ;
while
th^/Little
Theatre upholds the ideal of devotion
to art which the stage is in danger of losing, and pits
its strength against the great gilded juggernaut of What
the Public Wan^r The large theatre is many centuries
old; the Little Theatre is very new and young. Who

can tell what may or may not be accomplished by it?
The next theatre to Antoine's Free Theatre in point of

time was Lugne Poe> Theatre de L'CEuvre, which as
its title suggests was ^theatre of Work the first work-
shop theatre, an antecedent of the growing list of work-
"
shop theatres that are in our midst today. Naturalness
"
and reality were the watchwords of this theatre.
Little Theatre movement then spread to Russia
yThe
where Constantine Stanislavski founded the Moscow Art
Theatre in 1890. Its company was recruited from ama-
teurs who had a reverence for and a willingness to serve
the theatre. Unparalleled hard work was demanded of
them. As they progressed, small salaries were paid them.
When the finances of the theatre reached amore solid
basis, the salaries were increased. But the work was not
-
" "
diminished. All or nothing is the motto of the Mos-
p cow Art Theatre. So strong was the public response

to their sincerity that from a poverty-stricken beginning
they progressed financially until two decades later they

were making upwards of $50,000 a year?} The change
from poverty to affluence did not^n the least affect their
working policy. It simpw'made it
possible for Stanis-
lavski to give more and^more beautiful productions.
The' most noted of productions were Tchekoff's
his
Sea Gull; Gorky's Lower Depttis; Maeterlinck's Blue

7 Bird, and Shakespeare's Hamlet with screens devised by
Gordon Craig cream colored screens flooded withy
plain
lights of varying color and intensity. In 1896 this com-
pany toured Europe"!)

All growth inclucfes change. Thus it will be seen that
the Little Theatre idea as it expanded gained greater

catholicity. On the one hand
developed naturalism
it
and on the other hand symbolism a spiritual romanti-

cism touched with mystery and beauty such as is found
in the plays of Mae'terlinck and Synge.
During these years Wyspianski, the great Polish
painter and poet, had established his own theatre at
Cracow, where he designed and painted his own scenery.
This was in the main symbolic scenery, and by means of
original and extraordinary lighting he also created an

" "
illusion stage. So fine were some of his effects that
several well-known English critics credit Wyspianski
with greatly influencing the Moscow Art Theatre.
"
Wyspianski aimed to make his theatre the theatre of
the Polish conscience." It was a Little Theatre with
nationalistic inclinations. It produced plays by Polish
authors. It strove to be to the Polish drama what Chopin
is to Polish music, inspirator and interpreter.
How far Wyspianski's Art Theatre influenced the next
theatre to be established in Russia, the Art Theatre of
Madame Vyera Kommisarzhevsky, the Russian actress
(Petrograd, 1904), cannot be determined. But this
Petrograd theatre devoted itself to symbolism and sym-

bolic plays, experimenting with these making no attempt
;
to experiment with the theories of naturalism.

The Convex Mirror Theatre of Petrograd was estab-
lished in 1911. This Little Theatre produces Russian
plays that have political as well as literary significance,
such as Andreyeff's Sabine Women, and places less
stress on stage decoration than does the Moscow Art
Theatre.
(in 1891 England's first Little Theatre, the Independent
TReajre, was started in London by J. T. Grein. It made
nb scenic innovations; but it produced plays both one-
act and longer ones by English and foreign authors. It
had a subscription system and from this derived a small
income barely two thousand dollars a year. It lasted
six years, and was the precursor of much that was
dramatically valuable. \
s Then came the Stage Society (1897) whose actions

are discussed in the brilliant prefaces of George Bernard
" "
Shaw. This Society had in it the makings of a
Little Theatre. But
performances were sporadic,
its
largely owing to the fact that it had no permanent the-

atre of its own. Nothing can kill a Little Theatre idea
more quickly than lack of a permanent home. Neither,
had the Stage Society a permanent band of players. No
scenic experimentation was made by the Society. Styliza-
tion was unthought of. Its emphasis was placed solely
on repertory.
The next movement which might have resulted in a
Little Theatre was the organization of the Irish Players.
But with the establishing of this group one fact of very

great significance became apparent, namely, that while
in itself the Irish movement probably would not have
come to fruition if Antoine's Theatre had not prepared
the way for it, when it came it was not strictly a Little
Theatre movement ; it was a National Theatre movement.
The Abbey Theatre gave the plays of its own nation, not
of other nations. It was not experimental. It sought
no new effects unless simplicity be called a new effect.

Ita repertory group rather than a Little Theatre
is
>group in this respect. Nationalism not Little Theatre-

ism is the note of the Irish Players.
Thereafter, between the years 1904 and 1913 group

after group of players with Little Theatre attributes
were established in the British Isles. The Manchester
Players, founded and directed by Miss Horniman, have
the catholicity that is the hall mark of the Little Theatre.
They produce both classic and modern plays. Their plays

by local authors, fidelity life in and
mirroring with bitter
about Manchester and other manufacturing cities, has
"
earned for these playwrights the title of The Man-
"
chester school a group as distinctly Idealistic as the
Irish Players are nationalistic. Beyond this, Miss Horni-
man's players do not indulge in experiment. There is
no attempt at the new inscenation. The theatre is not
intimate. There is no subscription system. It is in fact
"
a permanent stock company of picked front-rank
actors."
The Welsh National Theatre is, by its very name,
fessedly not a Little Theatre, but of its open-mindedness
there can be no doubt, since its prize for the best one-
act play dealing with Welsh life was won by an Ameri-
can woman, Miss Jeanette Marks. The Glasgow Liter-
J^^J? 1
??*! 6 ' too >
is national. It exists primarily for
the production of plays of national character written by
Scotch men and women.
Basil Dean's Literary Theatre hi Liverpool was the
first of these group theatres to lean toward reform in
lighting and scenery and new problems in interpretation.

Very probably his theatre would have become a true
Little Theatre in the exact sense of the word as would
the proposed Theatres of Birmingham, Leeds,

Little
Sheffield, and Bristol, had not the Great War cut

their plans.
Thomas Hardy's Wessex Players and M'Evoy's

Devonshire Players might have formed the Little Rural
Theatre groups of England were it not for the fact that
io THE RISE OF THE LITTLE THEATRE
they only gave sporadic performances. Had the per-
formances been consecutive there was the making of a
wonderful folk theatre in these groups. The more the
pity that the performances did not continue.

The desire for Little Theatres is everywhere mani-
fest in England yet in only two instances has this desire
touched actuality. The Afternoon Theatre in London

was of brief duration. Thus the one real Little Theatre
of the British Isles having intimacy, experimentation, and
variety in choice of plays with a fine ensemble to act

them Gertrude Kingston's Little Theatre in London,
is
where that admirable actress-manager has striven to give

the British public the best work of their own authors
and of foreign authors. The Great War has affected this
theatre as it has all British theatres, and Miss Kingston
and her company have spent part of their season in the
United States.
(/Meanwhile, in Germany, where there had for gener-
ations been small court theatres but no real Little The-
> atre, there rose the star of Max Reinhardt. This great
producer began stage craftsmanship with a Little

his
Theatre.) Reinhardt and his intimates used to meet in
a Berlin restaurant, where, for their own delectation, they
gave one-act plays.

The idea of intimacy on the part of players and audi-
ence took such hold on Reinhardt that he and his group
the Schall und Rauch group they called themselves
moved into a theatre-hall, the Kiinstlerhaus. The next
"
step was to inurn this name, and the Kleine's Theatre
sprang from its ashes." This theatre had a draped in-

THE RISE OF THE LITTLE THEATRE n
terior the draperies held in place by Bocklin masks.
The ushers were in odd black-and-white costumes,
fin Theatre were produced one-act plays by
this Little
Strindberg, Wilde, Wedekinch and Von Hofmansthal.

In 1905 Reinhardt was called to the directorship of the
Deutsches Theatre, a theatre of the large non-intimate
type. But Reinhardt's interest in the intimate theatre
still continued. Next door to the Deutsches Theatre was

a dance hall. This Reinhardt promptly remodeled into
a theatre seating three hundred people. He called it the
Kammerspielhaus. Its name denotes its purpose. The

large theatre was comparable to a large orchestra: this
small theatre was comparable to chamber music, as its
title indicates. Both one-act plays and longer plays were

produced in the Kammerspielhaus.
Experimentation is the dominant note of the Kam-
merspielhaus. The naturalistic drama was represented
by such playwrights as Ibsen, Shaw, and Wolf, and the
one-act plays of Strindberg and Schnitzler; while the
drama was represented by Maeterlinck, Goethe,
poetic
Von Hofmansthal, and Eduard Stucken. The settings
for these plays were austerely lovely. But for love of
experimentation Reinhardt added a third type of drama
the decorative drama, embodied in such plays as Salome
and Sumurun. To these Reinhardt gave exotically gor-
geous settings. In Sumurun he showed how costume

effects could be marvelously heightened by the use of
scenery without perspective. For, with all his allegiance
to the moderns, Max Reinhardt is first and foremost a
superb colorist, decorative rather than analytical. He is

m THE RISE OF THE LITTLE THEATRE
at heart a romanticist, not a realist. The Little Theatre
might have become narrow had it devoted itself solely
to the production of realistic plays. But men like Rein-

hardt and Stanislavski pointed the way toward new
accomplishments in creating the decorative drama that
exists for beauty's sake, that makes no pretense at reality,
that imaginative and not photographic, that belongs to
is
the world of vision and dream. The decorative drama

has nothing whatever to do with the false romanticism
which existed previous to the founding of the Theatre
Antoine. It is new, free, and splendidly colorful. It
widens the experimental scope of the Little Theatre.

The Art Theatre established in Munich under the
direction of George Fuchs showed the direct influence
of Little Theatreism, although it cannot be called a Little
Theatre. It is a small theatre with a small stage. It
stresses the value of intimacy between players and audi-

"ence. Its settings are of the simplest, flat perspectiveless
backgrounds in the manner of Reinhardt; yet lacking
Reinhardt's color. Neutral tones and ascetic lines mark
the stylization of the Munich Art Theatre. It does not
experiment with scenic innovations. Nor is it entirely

devoted to drama. Like many of the court theatres of
Germany, it alternates plays and operas. Architecturally
it is one of the most beautiful of the Littmann theatres;
but as a creative force it is inferior to the Kammerspiel-
haus of Max Reinhardt.
In 1907 came another salient Little Theatre. August
Strindberg, whose plays had been produced by Andre

Antoine, was more and more impressed as time went on
THE RISE OF THE LITTLE THEATRE
with the possibilities of the intimate stage. In 1888-
1889 he attempted to establish a Scandinavian Experi-

mental Theatre at Holte near Copenhagen for the pro-
duction of his own plays. This project was abandoned
after Strindberg's Pariah and Creditors had been given,
and it was not until
igcff.that
his plans in this direction
came to fruition. In that year, with the help of August
Falk, he established the Intimate Theatre at Stockholm,

Sweden. He
believed as did Antoine in reducing the
"
stage setting to interchangeable backgrounds and few
stage properties."
Scenic simplification was one of the ideas for which
he strove. Repertory and_experimentation were part
and parcel of this theatre which produced only the plays
of Strindberg, and for which he wrote five dramas
"
marked by the same blend of mysticism and realism
that form such a striking feature of The Dream Play."
This Intimate Theatre seated two hundred people. Its
company was a resident one.

Meanwhile other Little Theatres were springing up in I
the capitals of Europe. Brussels and Budapest had their

intimate playhouses. Paris had its Grande Guinol, a type
of theatre which produced one-act plays whose leit motif
"
was horror." It was a theatre where " shocks " were
guaranteed, where the grizzliest tales of Edgar Allan Poe
found their dramatic counterpart. In Paris Jacques
Rouche established his Theatre des Arts; and the
Parisian Theatre du Vieux Colombier, the last Little
Theatre to be established in Europe before the Great War,
was also one of the most significant. Its originator and
"
director, Jacques Copeau, says of it : It is established
because I, myself, and those who work with me are

enemies of the commercial theatre as it exists today."
Henri Pierre Roche says of Jacques Copeau:. "He is

to themodern theatre of France what Antoine was to
Paris twenty-five years ago its soul." Through this
Little Theatre the intellectuals of Paris hope to see the
rehabilitation of theatre ideals. In their earnestness and
simplicity Copeau's group of players strikingly suggests

the Irish Players. But Copeau produces the plays of all
nations, not the plays of one nation. His is a Little
Theatre, not a National Theatre.
Speaking of this Little Theatre Copeau has recently
"
said : We have a small theatre with only five hundred
seats, which allows our enterprise to live inexpensively
and to be by far the cheapest theatre in Paris.

"
Our troupe is engaged and paid by the year. Note
that all the ladies' costumes are furnished by ourselves.
Our public, especially at the beginning, was the culti-
vated few the students, writers, artists, and the for-
eigners who around the Latin Quarter.

live
"
We do not know what the Theatre of Tomorrow
will be like; we are simply the enemies of the com-
mercial theatre as it exists today."
Monsieur Copeau is now in America, and will revive

his Theatre du Vieux Colombier in New York next
season.
ii
r
The Theatre Tnovement_eached the United
Little
Nutates in 1911-1912. In that year three Little Theatres

were established The Little Theatre of Mamice_Erawn

:
in Chicago Mrs. Lyman Gale's Toy Theatre in Boston,

;
and Winthrop Ames' Little Theatre in New^Ybrk the

last a Little Theatre in its architecture rather than in
its policy. Since the establishing of these Little The-

atres the growth of the Little Theatre movement has
been so rapid and spontaneous that at present, in the
matter of Little Theatres, numerically speaking, our
1
country leads the world. Over fifty Little Theatres
have sprung up throughout the United States. It can-
not be claimed for them artistically (save in one or two
instances) that they equal the Little Theatres of Europe.

Not yet. But it can be claimed for them and justly
that they have greater differentiation than the Little The-
atres of Europe ever dreamed of having. Herein lies
their enormous value. Every Little Theatre now extant

in theUnited States has met and conquered problems as
widely different as can be imagined. They are racially
expressive of America in that they show an indomitable
pioneer spirit.
For the problems they have conquered are not only
those of art, policy, and finance such as every Little The-
atre in Europe has had to face ; but also those of varying
localities, of varying. jaeedsi au,d -conditions. Europe has
centuries of culture behind her : and her Little Theatres
have found their audiences ready and waiting. In the

United States the Little Theatre in many cases has to
create itself and its audience at the same time. In each
of the European countries Little Theatres have centered
1
See Appendix II.
the intellectual life of such larger cities as Moscow, Lon-
don, Berlin, and Paris. In the United States, cities and
suburbs, seashore villages, prairie towns and mountain
/ farm-lands have their Little
Theatres.^
America has had to expand the idea of a Little The-
i atre in order to meet the thousand different needs of the
country at large. This has led to the creation of new
|
types of Little Theatres types which Europe has never
seen. Europe has no collapsible Little Theatre that can
I be packed up and moved in less than six hours no college ;
\ laboratory theatre; no Little Theatre for farmers such

I as one of our Western States can boast. Neither has
'
Europe a beautifully equipped Little Theatre set in the

1
very heart of a city slum, showing^ the socializing force
\ of the Little Theatre as a community asset. Nor from
Petrograd to Paris is there a cultural Little Theatre

where admittance is absolutely free. Yet all these types
of Little Theatres exist in America.
'
It is true that many of the Little Theatres in Europe
began But even Andre Antoine might

in hired halls.
gaze with astonishment at the ingenuity with which

Little Theatre directors in this country have grappled
with the problem of no-hall-to-be-had. The stable, the

chapel, the art museum, the masonic temple, the private
dwelling house, the store, and even the saloon, have been
made into charmingly decorative Little Theatres in this
country. While an abandoned fish house in a picturesque

Massachusetts town has been so metamorphosed that
Stanislavski himself would applaud it !
There is, too, wide dissimilarity in the

policy
of the
Little Theatres of the United States. Some specialize

y/
in producing plays by American authors only; others

specialize in producing plays by European authors only.
Still others confine themselves to local authors, or to
"
first productions/' Certain theatres are addicted to
the one-act play, and no other appears on their boards.
Again it may be that a Little Theatre will alternate short

three or four-act plays with one-act plays. And in some
Little Theatres classic revivals are added to the list,
though in the main the one-act play forms the chief staple
of production. The reason for this is obvious.
Since the players and directors working in Little The-
atres are artists or potential artists they will produce only
such plays as have a distinct value. And where can such
plays be found plays that will fill the needs of the
Little Theatre ?Theatres have only a small amount
Little ^
to spend on production and a still smaller amount to
spend on royalties. They must turn to plays that have

been written con amore, with no commercial end in view,
plays that require a small royalty or none. Almost the
only plays in this category are the one-act and occasional
two-act plays written by European and American dram-
atists who have something to say and want to say it
regardless of money. What form of play could be better
suited to an intimate stage? The one-act play affords
excellent examples of comparative drama. Facets from
the stage literature of Russia,
Spain, Denmark, and
Iceland can be given in an evening. Or an idea of love
as it was yesterday, is today and will be tomorrow, ca:
be set before an appreciative audience. The thought o
i8 THE RISE OF THE LITTLE THEATRE
the world changes every ten years and the Little Theatre
can easily show forth this change.
For first and last the Little Theatre is a theatre cj
Jmagination, of thought. Before the advent of the Little
Theatre in this country poetic drama went starving;

fantasy shivered in the biting wind of neglect. Now
poetry, fantasy, grim realism, star-dust pantomime, and
tingling satire find place in the Little Theatres. Brief
social preachments have their say. Historical personages
live, move, and have their being; for the Little Theatre
is nothing if not inclusive. The historic play, the prob-
lem play, and the play with or without a purpose can all
find space on its boards.
(The one-act play makes a special appeal to Little The-

atre players because, being short, it requires less sustained
characterization than a long play.
There is another reason why the one-act play has be-
come a necessary concomitant of the Little Theatre.
Since the Little Theatre houses a democracy .of artists
each artist must be given an opportunity to reach his
public. The more varied the programs of the Little The-

atre, the greater the opportunities for its staff. An eve-
ning of one-act plays gives the players a chancjtQ_appe^r

irr-sfyeraTj^^ artist a
chance to try out several designs. No commercial the-
of one-act plays.
Therefore the Little Theatre has the field to itself in
this respeo) To the production of these plays the work-
ers in Little Theatres bring sincerity and in many
cases a keen sense of dramatic values. From the first

Little Theatre companies in the United States have real-
ized that wonder and beauty of effect can be obtained
through inexpensive as well as expensive means. They

employ simplicity and suggestion true corner stones of
the significant in art.
As to the content of the plays, the Little Theatres of
the United States produce many of the same plays that

are given in the intimate theatres of Europe. That is,
they give plays by European dramatists, and also plays

by American authors. They provide our native play-
wright with a place where he can come into his own.
As yej/America has no Dunsany, no Maeterlinck, no
Synge. But her Little Theatres give incipient Dunsanys
and Maeterlincks a chance to experiment, to get a hear-
ing, a thing they have never had before/ Some com-
pellingly interesting one-act plays by native authors have

been the result, plays showing different facets of Ameri-
can life, interpreted both in terms of comedy and tragedy.
In scenic investiture several of the Little Theatres
of the United States are rapidly approaching the Euro-
pean standard, notably the Washington Square Players.

At devising remarkable effects for very little outlay the
LittleTheatres in the United States surpass their Euro-
pean contemporaries. The much famed scenic use of
potato sacking by the Irish Players fades almost into
insignificance compared with what some little American
Theatres have accomplished for $3.98!
Histrionically the Little Theatres of the United States

do not equal the Little Theatres of Europe. Many of
their players are at the stage where the Moscow Art The-
atre players were before they perfected their art. All
the players in the Little Theatres of Europe have become
professional. Players in the Little Theatres of the United
States are of two kinds professional and semi-profes-
sional. If professional, the players receive a living wage ;
ifamateur, no wage at all. They give their services.

"
They are what one critic has termed amateurs on the
way toward being professionals./' In either case the com-
pany is a resident one. It does not travel about except
perhaps for a brief stated period. Its theatre is its home,

and there it stays. It is not haphazard, it is steadfast.
One of the finest things accomplished by Little The-
atres in this country is the fact that they bring new
quickening art forces to the smaller towns that would
otherwise never see the changes that are being wrought
in stage decoration as well as in the content of modern
plays. Intellectual and decorative drama, fresh outlook,

and keen stimulus are thus put within the reach of those
who hunger for them. It is one thing to read Shaw,
and another to get the impact of his dialogue as the play
is acted on the stage. It is one thing to hear of sim-
plicity of line, of the beauty obtainable through sheer
color, and another thing to see line and color work their
miracle.
j~
Above all, 4;ittle Theatreism must not beLgonfusedjEith.
private theatricals. Private theatricals are exactly what
that name implies private and theatrical. They are
given by a coterie of amateurs before another coterie of

amatetiis^ purely for the sake ofjfoe amusement derived.
There is nothing of the potential artist in the labors of
these amateurs. They are not working toward a goal:
nothing that they do is intentioned. In^the matter of

plays they are content to repeat never to create. And last
:
but not least, tfaey are not judged by theatre standards.

Private theatricals invite leniency. The Little Theatre
invites criticism. The former is social ;
the latter
artistic.^
In fact the spirit of Little Theatreism is as far removed
from private theatricals as is painting on china from a
Pennell etching.
Little Theatres are not imposed on the community.
They are the natural outgrowth of its art-life free, spon-
taneous, resilient. Theyjjrejfree in spirit, in outlook, in
pecuniary standard -free as nocommercial theatre_ ever

can be free. They are the heralds of the theatre of to-
morrow";^ disturbing factor in the theatre of today.
David Belasco has lately said
"
Little Theatres are
: ^V
a menace. They cannpt. last." A
critic promptly replied :
" "
If they can't last, then why are they a menace? The
old order changeth and the Little Theatre is responsible
for the change. It has put art into the hands_njLihe
the hands o f jhgjjox office, and
jpeople instead of into
art that is of the people, that is native and authentic, is
a force to be reckoned with in all ages and all climes.

'
The j/eryjittkness_p_f Jhe jy tJl^ jnêaLtrejs_its_ safe-
guard. There no vast expense for rent, salaries, scen-

is
ery, costumes, heat, light, printing and advertising, such

as the commercial theatre has to face. The Little The-
atre not forced to please a large majority, does not
is
consider what the public wants. It can advance towards

the goal it has set for itself unhampered by the difficul-
ties that beset the commercial playhouse. Indeed, all
difficulties are promptly overridden. Perhaps because

the movement in this country is young it has the daring,
the ardor, the eager up-struggle of youth. It is the the-
atre of the Future. has no musty traditions to fall

It
back on, no hidebound theories. It hoes its own row.

With its audience it creates and fulfils a demand for the
best.
A noted has recently observed that he could tell

critic
whether the art life of a city was an affectation or a

reality by inquiring whether supported a Little Theatre.
it
It was like feeling the art pulse of the community. If a
Little Theatre existed then that community was a thriving
place, creatively, in all the finer things of culture. If a
Little Theatre did not exist then that place was artis-
tically moribund. Like all wit his rapier thrust had a
flash of truth, for a Little Theatre is made possible by
spirit rather than by money.
\North, South, East, West, this country has responded

to the Little Theatre movement. New York, the largest
city in the country, naturally has the greatest number of

Little Theatres, and movements instigated by Little The-
atres.
jWinthrop Ames' Little Theatre has already been
mentioned. There are also the Washington Square
Players, .the Provincetown Players, the Neighborhood
Playhouse, Portmanteau Theatre, the Greenwich
the
Village Theatre, the East-West-Players, the Bramhall

Playhouse, and in process the Workshop Theatre. Groups
of New York players directly influenced by the Little
Theatre idea include the Morningside Players and the
Negro Players. Brooklyn has a Community Repertory

Theatre directly traceable to Little Theatre influence.
Richmond Hill, L. I., and Montclair and Newark, N. J.,
have each a group of Community Players. There is a
Workshop Theatre at Yonkers, N. Y. Rochester, N. Y.,
has a Little Theatre and also a group called The Prince
Street Players. Bridgeport has a Little Theatre Buffalo ;
has the Drama League Players and their Little Theatre.
Philadelphia, Baltimore, Northampton, Mass., and Plain-

field,N. H., have Little Theatres. So have Erie and
Brookfield, Penn. New Orleans and Louisville are estab-
lishing Little Theatres. There is a recently started
Little Theatre in Washington, D. C. Chicago has three
Little Theatres; Duluth, St. Louis, Kansas City, Los
Angeles, Detroit, Galesburg, and Lake Forest, 111., have
Little Theatres. So also have Fargo and Kensal, N. D.
Laboratory Theatres have been established at Harvard,
Carnegie Institute, and Dartmouth. Wisconsin is justly
proud of its Wisconsin Players. Movements toward
Theatres are afoot in Minneapolis,
establishing Little
St. Paul, Columbus, Pittsburgh, Cincinnati, and Port-
land, Ore.
To describe these Little Theatres, their contributions
and achievements, is the purpose of this book.
CHAPTER II
THE LITTLE THEATRES OF NEW YORK

CITY
WINTHROP AMES' LITTLE THEATRE, ETC.
As New York is the largest city in the country it
naturally follows that has the greatest number of

it
Little Theatres. Indeed, the very first Little Theatre

(so-called) to open in this country was that of Mr. Win-
throp Ames. But this theatre does not represent the
Little Theatre movement. It is only a Little Theatre
architecturally. Its policy is not that of a Little Theatre

as the term is
Itjias neither a
universally understood.
resident company, experimentation, repertoire, nor a sul>
scriptionsystem. So much confusion has resulted from

it<T~nomenclature that Mr. Ames contemplates chang-
ing its name something which does not suggest the
to
Little Theatre movement. Meanwhile the name of Mr.
Ames' Little Theatre has come to stand for productions
of a high order, including such matchlessly staged fan-
and Snow White, and brilliant per-
tasies as Prunella,
formances of modern plays such as Shaw's The Phil-

anderer, Sowerby's Rutherford and Son, Schnitzler's
Anatol, and Harcourt's A Pair of Silk Stockings.
Though Pierrot the Prodigal was given by Mr. Ames at
25
26 LITTLE THEATRES OF NEW YORK CITY
this theatre, he originally produced it in the larger Booth
Theatre.
Mr. Butler Davenport's miniature Bramhall Playhouse
is also a Little Theatre architecturally though not in
policy, since it exists as a producing center for the plays
of its owner.
It cannot be said too often that it is not the seating
capacity which determines the status of the Little The-

atre. Take, for example, the seating capacity of the
Little Theatres of Europe. The Intimate Theatre of
Stockholm seated 200; the seating capacity of Gertrude
Kingston's Little Theatre in London is 400; that of the
Vieux Colombier in Paris, 500. Yet all of these are
Little Theatres in the true sense of the word, imbued
with Little Theatre principles.
THE WASHINGTON SQUARE PLAYERS
"
THE Washington Square Players, a group of actors,
artists, and authors interested in stimulating and devel-
oping new and artistic methods of acting and producing

and writing for the American stage," were established
in 1915. They are undoubtedly the most interesting
group of Little Theatre players in this country. Indeed,
they might take the Square's Arch of Triumph /8s their

crest; for, from the first, they have been among the
most successful of Little Theatre experimenters. Their
name is apt; as most of the players live in the Washing-
ton Square district. The idea of the theatre had its
inception in Washington Square. Something of the
Square's literary and artistic do-as-you-choose-ness
infuses their work. The freedom, the oddness, the un-
" "
expectedness of the Republic in the Air flavors their
efforts.
Like the Schall und Ranch of Max Reinhardt and the

Free Theatre of Antoine, their work had small (but pic-
turesque) beginnings. Max Reinhardt's Schall und
Rauch group used to meet in a restaurant. The Wash-
ington Square Players also used to meet in a restaurant,
"
the famous Polly's." Yet most of all they foregathered
in the Washington Square Bookshop. two large high-Its
ceilinged rooms; its white woodwork; its bookcases; its

hundreds of volumes in gay colors lining the walls like
27
a tapestry; comfortable chairs and lounge; its hos-
its
pitable open fire all tended to make it a place to linger in.
About this fire one winter night a group of artists,

writers, and theatre enthusiasts sat talking. And from
that talk of ways and means the idea of a Little Theatre
grew. Not one of the enthusiasts had any money with
which to finance a theatre; but all were determined to
have it. All were content to begin with little and work
toward more. Therefore for the production of their
experimental one-act play late in the Autumn of
first
1914 they took the back room of the store and built a
small platform stage. A
curtain background was ar-
ranged, and a few accessories were improvised by a

young man interested in new ideas in scenery, named
Robert Edmond Jones. Seats were arranged for an audi-
ence of about forty people, twenty-five cents a seat was
the price of admission. The play was Lord Dunsany's
Glittering Gate. And a Glittering Gate it proved for the
Washington Square Players!
The success of this first tiny effort fanned the flame
of their enthusiasm. The rest istheatre history. How
" "
this group of young people passed the hat and rented
for a few performances early in 1915 the Bandbox The-
atre in an in-get-at-able part of town; a theatre where
professionals had failed; how they gave week-end per-
formances of one-act plays that were slightly crude as
to acting, but filled with new ideas in investiture and con-
tent all this has become known from coast to coast.
Their first program at the Bandbox consisted of four
one-act plays :
Interior, by Maeterlinck ; Licensed, by
THE WASHINGTON SQUARE PLAYERS 29
Lawrence Eugenically Speaking, by Edward Good-

Basil ;
man; and Another Interior, by an anonymous author.

Licensed, Another Interior, and Eugenically Speaking
were excellent: but it was the wonderfully sustained
atmosphere of Maeterlinck's Interior that gained univer-

sal praise.
This success encouraged the Washington Square Play-

ers to give four performances weekly for the rest of the
season. During this time they continued to produce,

programs of one-act plays by American and foreign
authors. The outstanding successes amongst these were
Holland Hudson's enchanting pantomime in black and
white, The Shepherd in the Distance, and Maeterlinck's
Miracle of St. Anthony, with an austerely lovely scene
designed by Lee Simonson; Forbidden Fruit, An Arti-
ficiality, by George Jay Smith, from the French of Octave
Feuillet, with a decorative set by Robert Locker; and

Two Blind Beggars and One Less Blind, by Philip
Moeller, one of the grimmest plays the Washington
Square Players have produced. Scenically interesting
also was the set for Goodman's Saviors, an interior in
black and parrot green, designed by Ada Rainey. Even
their programs at this time were odd and intriguing,
printed in black on heavy gray wrapping paper.
At this period the Washington Square Players had
the only theatre in New York which gave one-act plays.
In spite of the expenses incident to starting a new
many
company and mounting new plays they asked a uniform
price of fifty cents for the balance of their first season.
They then leased the Bandbox for the whole season of
1915-1916 and gave the customary eight performances

a week instead of four. This meant the assuming of
further responsibility in rent, and the prices rose accord-
ingly. One dollar was asked for two-thirds of the seats

in the house, and fifty cents for the remaining third.
The Bandbox seats 299. f-tf
It is safe to say that no one in the company had more
than a living wage. This theatre was started for love of
ideas, not for love of money. It struck a new and stimu-
lating note to which most of the New York critics in-
stantly responded. The public flocked to the theatre: a

group of permanent subscribers was secured: this gave
the Players definite financial backing. The subscription
list grew rapidly; and the experimentation of the Players
kept pace with it.
From the first it became apparent that the Washington
Square Players had a flair for the unusual in the content
and inscenation of their plays. Their scenery, simple to
the verge of starkness, had color and atmosphere that
stamped it
indelibly on the mind of the beholder; their
programs had variety and interest indeed in their gift

for making programs the Washington Square Players
are, with few exceptions, masters of effect. The plays
in their repertory are always in strong contrast and have
literary or historic value.

As an example of their gifts in this direction take
two specimen programs, one representing their earlier
work and one their later work.

In April, by Rose Pastor Stokes; Forbidden Fruit, by

George Jay Smith Saviors, by Edward Goodman A Mira-
; ;
cle of St. Anthony, by Maurice Maeterlinck.
The of these was a picture of a slum tenement

first
and the blighting of April hopes through the curse of

poverty. It had a dun colored arid setting. The second
was a gay fantastic trifle with a decorative costume set-
ting. The third play on the list was a serious study of

the half world problem staged with a striking, vivid,
ultra modern background. The fourth play was an
ironic modern morality showing that only the simple
hearted possess true vision. It had an austere neutral
tinted setting, finely composed.
Each of these plays represented a different idea and a
different strata of society, each represented a different
way of looking at life. None of them were such as would

overtax the histrionic powers of the people taking part
in them. In this the Washington Square Players showed
their wisdom. They began with plays that were more

or less within their own range of histrionic equipment.
As dramatic ability grew they attempted plays
their
more difficult of interpretation. In this specimen pro-

gram the fourth play was the most valuable and sig-
nificant.
Latterly the Washington Square Players have adopted

the custom and a wise one of making their third one-
act play dominate the program. In a four-act play the
third act is always the important act. Thus in a program
of four one-act plays the third play on the list, if the
strongest, preserves dramatic unity as if the whole pro-

gram were a long play. Of this method of procedure
there could be no better example than the Washington
Square Players' most successful program which is given

here as a second specimen.
2
Trifles, by Susan Glaspell Another Way Out, by Law-
;
rence Langner; Bushido, by Takeda Izumo; Altruism, by

Karl Ettlinger.
The first of these was a stark tragedy of the life of
a farmer's wife pieced together by her neighbors as they
observed her kitchen after she herself has been taken to
jail as the suspected murderer of her husband. This play
had a drab forlorn setting. The second play was an
ironic comment on the free unions that flourish on Wash-
ington Square South. It showed a man and a woman
fleeing the bonds of matrimony, and eventually finding

" " "
that only in these bonds lay the freedom their souls
desired." This play had a posteresque studio background
and smart modern costumes.
The third play, Bushido, was laid in eighteenth century
Japan. The stern powerful tragedy was

theme of its
the sacrifice by Matsuo of his only son in order that

the son of his liege lord might be saved. The rich cos-
tumes suggested mediaeval Japan. The scene against
which the actors moved was ascetic in its bareness, and
was largely made of cream colored screens. A flare of
color marked the decoration of the next play, Altruism.
Gaily striped awnings, blue sea in the distance, and mod-

ern French costumes in the foreground. This was a
THE WASHINGTON SQUARE PLAYERS. > V >
Above, scene from Evrienof's The Mrny D*'dlh.
Below, scene from Bushido.

" "
mordant satire on philanthropy. It had a punch end-
ing. It showed the escapades
of a beggar trying to collect
money from the bystanders at a smart resort, and the

reactions of a crowd of French boulevardiers to the senti-
ment of heroism and charity. After the boulevardiers

have disappeared, the beggar, having had a successful
day, skips into a fine coat and whistles for his automobile.
With every production the acting of the Players im-
proved. They had something to say whether they said
it awkwardly or not, and ideas eventually overcome
awkwardness.
Part of the success of the Washington Square Players
is due to the fact that they all pull together; every one
works his or her best for the good of the whole. Gradu-
ally, out of this team work, it became apparent that
individual work would arise. Some of the Players shone

as scene painters; some at costume-designing; others
were able translators of foreign plays; some took the
burden of the acting; some put their talent to producing;
still others to playwrighting, though the American one-
act plays they produced were by no means confined to
those written by their own group.

Perhaps the best plays during the season 1915-1916
were Pierre Patelin, the old French farce, with delight-
ful posteresque setting, by Lee Simonson Lewis Beach's
;
powerful The Clod] Philip Moeller's splendid comedy

Helena's Husband', Alice Gerstenberg's Overtones one
of the most original plays the Washington Square Play-
ers ever produced; and Zoe Akins' Manhattanesque
vers libre drama The Magical City, with a really mar-

34 LITTLE THEATRES OF NEW YORK CITY,
velous setting, a room with an open window giving on

the blue twilight sky of New York and against this sky
a slender tower spangled with lights. It is interesting to
note that of these five successes four are by American
authors.
By time the acting of the Washington Square

this
Players had reached a state where it could be called

" "
professional in the true sense of the word.
For 1916-1917 the Washington Square Players took

the Comedy Theatre, one of the smallest of New York's
"
playhouses in the theatre belt." Its seating capacity is
700 and the scale of prices now runs from fifty cents to
two dollars.
To many discerning folk who followed the Washing-
ton Square Players from the very beginning this rise
in price was a matter of sorrow. It seemed to curtail
the idea of democracy. However one may disagree with

the Washington Square Players' change of abode (the
rent of the Comedy Theatre is a great deal higher than
that of the Bandbox), one cannot disagree with their
accomplishment. The Washington Square Play-

definite
ers may have changed their prices; but they have not
changed their ideals. They still choose their plays to suit
themselves; not to suit the public. The most successful,

plays of 1916-1917 have been Bushido, a poetic Japanese
tragedy, its moving story enriched by the imaginative
acting of Jose Ruben in the title role, and by its singu-
larly effective setting of cream color with touches of
black designed by Michio Itow and William Pennington;
Plots and Playwrights, an hilarious two-act travesty by
Edward Massey; Altruism, by Karl Ettlinger; Another

Way Out, by Lawrence Langner, both splendid examples
of saturnine comedy; and Trifles, by Susan Glaspell, a
tragedy of American farm life tellingly poignant in its
hopelessness. Honors again go to the American play-

wright for the season of 1916-1917.
At the Washington Square Players had a tendency
first
to warp some of the best of their work with overemphasis

of sex. A better balance is now observable in this re-
spect. Their appeal has steadily grown. In their earlier
productions they pleased the high-brow and the dilettant.

Then their public widened. People other than the high-
brow and the dilettant are now drawn to the Comedy
Theatre. Nothing succeeds like success. As one clever
"
lady remarked The Washington Square Players please
:
both High-brow and Hofbrau." They have shown New

York at large that there is something to be found in the
theatre beside some of the endlessly commonplace plays
of Broadway.
The Washington Square Players have had several fail-
ures; several times their programs have fallen short of

the high standard they usually set ;
but in the main their
plays are well selected, played so they give variety and

surprise, yet lend the whole program balance and unity.
Where else will the drama enthusiast find such a blend
of satire, beauty, poetry, and wit? The satire of their
plays has "bite." No program is complete without a
fling at popular foibles. Their whimsies are staged with
an effect of truth that sometimes catches the unwary.
For in their comedies the Washington Square Players
can be solemnly droll even about themselves. It is a
theatre which demands that the people in its audience
be sympathetic and wide awake/ It will not allow them
to check their brains with their hats.
Farsightedness has been one of the keenest contrib-

uting factors to this Little Theatre's success. Mr. Ed-
ward Goodman, the director of the theatre, increased the
"
membership list by offering the subscribers intellectual
inducements." These consist of lectures on the drama-
free to subscribers;and private performances of unusual
plays given to the subscribers, from which the general
public is excluded. In the season of 1915-1916 an ex-
quisitely wistful performance of Maeterlinck's Aglavaine

and Selysette was given. The subscription performance
of 1916-1917 was Andreyeff's Life of Man (see frontis-
piece).
The policy of the Washington Square Players includes
five subscription performances a year of one-act plays
and longer plays, as well as revival of previous successes.
These performances are open to the general public.
The
repertory system is adhered to even in the face
of successes that would make a commercial manager
" "
change his mind about long runs. The only run the
Washington Square Players have permitted themselves
was in Bushido, the memorable Japanese tragedy, which
"
saw its one-hundredth performance, the longest run of
any one-act play in New York," says Alexander Wool-

cott of the New York Times. It could easily have
reached two-hundredth performance but, true to his

its
policy, Mr. Goodman replaced it by a new bill.

THE WASHINGTON SQUARE PLAYERS 3?
The accomplishment of the Washington Square Play-

ers in three years is little less than miraculous. From
back room of a bookshop they have
their start in the
marched forward till they now have not only a theatre

but a school of acting. Across from the Comedy The-
atre is a tall narrow building, every floor of which and
there are seven floors occupied by the activities of the
is
Washington Square Players. Here are the executive and

business offices, the class rooms, the press department,
" "
the atelier, and shops where costumes and scenery
are made. At the present writing the Washington Square
Players have the only theatre in this country which has
a school in connection with its work. Its pupils, as they
advance in proficiency, are given small parts in the com-
pany. They are, moreover, able to observe the evolving
of a play from the time the manuscript is accepted
through the stages of its scene designing, rehearsing, and

costuming to its final production.
It is the avowed permanent intention of the Washing-
"
ton Square Players to produce new works by American
authors and important plays by foreign dramatists that
would not otherwise be given a hearing, always main-
taining our custom of free experiment without which we
believe progress in the theatre to be impossible." The
repertory of the Washington Square Players has been
as follows :
1915-1916
Eugenically Speaking, by Edward Goodman; Licensed,
by Basil Lawrence; Interior, by Maurice Maeterlinck;
Another Interior, by an anonymous author; Love of One's
Neighbor, by Andreyeff; My Lady's Honor, by Murdock
Pemberton; Moondown, by John Reed; Forbidden Fruit,
by George Jay Smith; In April, by Rose Pastor Stokes;
Saviors, by Edward Goodman A Bear, by Anton Tchekoff
; ;
The Shepherd in the Distance, by Holland Hudson; Two

Blind Beggars and One Less Blind, by Philip Moeller; The
Miracle of St. Antony, by Maeterlinck (these were the
plays of the first half season, and the following the plays
of the second season) : The Magical City, by Zoe Akins;
The Clod, by Lewis Beach Children, by Guy Bolton and
;
Tom Carlton; The Age of Reason, by Cecil Dorrian;

Overtones, by Alice Gerstenberg; The Antick, by Percy
Mackaye; The Red Cloak, by Josephine A. Meyer and
Lawrence Langner; Helena's Husbands, and The Road-
house in Arden, by Philip Moeller; Fire and Water, by
Hervey White Literature, by Arthur Schnitzler Aglavaine
; ;
and Selysette, by Maeterlinck; Pierre Patelin (anony-

mous); Whims, by Alfred de Musset; The Tenor, by
Frank Wedekind; The Honorable Lover and Night of
Snow, by Roberto Bracco; The Sea Gull, by Tchekoff.
1916-1917
The Sugar House, by Alice Brown; The Merry Death,
by Evrienof ; Lover's Luck, by Georges Porto Riche Sis- ;
ters of Suzanna, by Phillip Moeller; Trifles, by Susan
Glaspell; Another Way Out, by Lawrence Langner;

Bushido, by Takeda Izumo; Altruism, by Karl Ettlinger;
The Last Straw, by Bosworth Crocker; A Private Account,
by Georges Courteline and Beatrice de Holthoir ;

The Hero
of Santa Maria, by Kenneth Sawyer Goodman and Ben
Hecht The Death of Tintagiles, by Maeterlinck The Life
; ;
of Man, by Andreyeff Plots and Playwrights, by Edward

;
Massey; Sganarelle, by Moliere; The Poor Fool, by Her-

mann Bahr; Ghosts, by Ibsen, with Mary Shaw as guest
artist.
STUART WALKER'S PORTMANTEAU THEATRE
STUART WALKER'S Portmanteau Theatre is proof of

the fact that if you have something original to offer peo-
ple, it does not matter when or where you offer it.
Mr. Walker is a college man who received his the-
atre diploma from Mr. Belasco, for whom he was play
reader, and later play director, before evolving a play-
house of his own.

The Portmanteau Theatre is what its name suggests
a portable, collapsible theatre, that can be taken, apart
and packed up at three hours' notice. For this reason
"
it has been
aptly called The Theatre That Comes to
You." It can be set up in a hall, or an auditorium, or a
professional theatre; or in a park or city square. It is
a traveling Little Theatre, a theatre that roves. There-

fore it is an independent theatre. It has the power to
create its own circuit. It can give performances in cities,
or in country towns. It can be set up in colleges, before
clubs, in art museums, in ballrooms, in schools, in set-
tlements or in parish houses. All it demands is an audi-

torium seating from 150 to 700 people, and space for
a stage.
The Portmanteau Theatre is a New York product.
It was founded in 1915-1916. It was first set up, and
gave its first performance at Christadora House (Social
Settlement, N. Y.), at an off season of the year, in an
inaccessible part of town. Yet the critics went eagerly
39
to see it, and brought it to the attention of the genera
public.
Such were the modest beginnings of the Portmanteau
Theatre, a theatre that has now become an established
fact. From the time of its firsf performance at Christa-
dor House the Portmanteau became more and more in
demand. It traveled about in New York City, giving
performances here and there. Next it was set 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 does not send out
a second company. The original players and the New
York company go with it. It is the only traveling Little
Theatre in this country, and even on the road it preserves
theatre ideals.
The spirit of the Portmanteau Theatre is uncommer-
cial. Thisproved by Stuart Walker's Christmas gift
is
to the City of New York. He set up his Portmanteau

Theatre in Madison Square on Christmas night, 1916,
and gave a free performance of his play, The Seven Gifts.
His audience was the homeless of the city. The park
benches, the seats of the out-of-work and despairing,
were drawn up to form an outdoor auditorium. People
came early and waited for hours to see the play. Snow
had fallen. The Square and its trees were white with it.
And white background seemed to intensify the deep

this
mysterious colors used in the Portmanteau performance.

Mr. Walker will do much in the future; but it will be
equal the emotional quality of his gift to the

difficult to
city and the season.

WALKER'S PORTMANTEAU THEATRE 41
Simplicity is the keynote of the Portmanteau. It has

one scene-setting which uses throughout. This scene-
it
setting is painted with different colored lights; is .nade
brighter or darker as the case may be. New backgrounds

are added to it, or subtracted from it. But the scene
framework remains the same. It is itself the Port-
manteau Theatre.
This stationary interior scene of the Portmanteau is
wrought in four colors: black, blue, gold, and white

though the note of white is used very sparingly. Half
way up the walls of the scene are black, as if they were
wainscoted in black. It is a dense black, with no sug-
gestion of wood. Above this black the walls are a deep
yet intense blue the blue that is seen in the skies of
Maxfield Parrish pictures. This blue is flecked with tiny
disks of white and gold disks that look like a constella-
tion of faint stars. Where the blue joins the black, a
narrow border of gold and black joins the two colors
together. The constellation disks are just above this
border at the right and left walls of the scene and appear
again near the border in background.

There are three entrances. Doors
extreme right
at the
and left facing each other, and made exactly alike, have
curtains of blue. In the background is a wide square
arch, bordered in gold and black. Above it is a curious-
looking half-circle design in the four colors of the scene.

It is eastern in its pattern, and might come from
Japan
or India.
This background arch is the most important thing,
scenically speaking, about the Portmanteau Theatre.
Behind this archway glowing scenes may be placed, tropic
in their color. Minarets may soar against a vivid sky;
or storm clouds drift against the heavens; or curtains fall
in sumptuous folds. Or poplar trees may stand in grace-
ful silhouette, as they do in The Moon Lady.
The scene that is placed in this archway determines
the whole atmosphere of whatever play is being produced,
whether that play is laid in the Never Never Land, in
France, Far Japan, or in the Mountains of the Moon.

in
All these are projected from this background scene. It

dominates the play. Its power suggests and creates. It
makes the rest of the stage into a palace, a temple, a
garden, or a street. It collaborates with the imagination

of the audience.
Nothing is used on the stage of the Portmanteau that

is not necessary to the forward-action of the play. Instead
of overloading his stage, Mr. Walker strips it. He relies
on line and color for his effects. Indeed his stage is so
small that any attempt at ornate furnishing would be
in the way. It is surprising what an effect of largeness
and mystery can be given in so small a space, and it is
due to his unencumbered stage, and his way of using it.
His lighting, too, plays a prominent part in securing these
results.
As to the personnel of the company, Mr. Walker's

players are young professionals more interested in gain-
ing a hearing than in receiving inflated salaries. Mr.

Walker looks forward to the time when he can charge
fifty cents for every seat in his house. At present regu-
lar theatre prices prevail with the Portmanteau. That .
is, fifty cents to two dollars a seat. But Mr. Walker gave
a series of matinees for children asking only twenty-five
and fifty cents for the whole house.
The first plays produced by the Portmanteau Theatre
in its very early struggling days were A Fan and Two
Candlesticks,by tyfary MacMillan; The Trimplet, by
Mr. Walker, and Six Who Pass While the Lentils Boil,
a whimsy, also by Mr. Walker, which has since become
celebrated.Then Mr. Walker added the strange parable
plays of Lord Dunsany to his repertoire, staging The
Gods of the Mountain, in three short acts; The Golden
Doom (one-act) and King Argimmes and the Unknown
Warrior (one-act). Certainly thesewere not plays ex-
pected to appeal to the average audience. Yet Mr. Walker
proved at once that there is a public for such dramas.

He invested these plays with simple yet curiously lovely
scenic effects, and with costumes rich in color and sug-
gestion. Obviously these costumes were dyed under the
eye of the director. There are some expensive materials,
but in the main they seem to be created from inexpensive
stuffs. Canton flannel, cotton crepe, and cambric are
made to look like fabrics brought from the mysterious
East.
Besides the Dunsany plays Mr. Walker gives Oscar
Wilde's Birthday of the Infanta, and his own Lady of
the Weeping Willow Tree, a three-act play of medi-
aeval Japan, as charming as a Willow Ware plate come
to life!
Another of his productions, Gammer Gurton's Needle,
g, mediaeval English play, is in direct contrast to his
other plays, as it has bluff and hearty humor, and investi-
ture of bluff and hearty colors.
Gordon Bottomly's Crier by Night is also given.
The rest of the repertoire consists of brief interludes
given before the curtain. That is, after the Dunsany

play or the Wilde play has been acted, there is a pause
while costumes are changed and a new background slipped
into place behind the Portmanteau's blue and gold arch.
The curtain is lowered and between the shallow space
that lies between the curtain and the footlights an inter-
lude is given. Quite in the Elizabethan manner stage

attendants bring in a chair, a table, a lamp, or whatever
is needed. The actors enter from right or left, and the
play begins. There are several of these interludes:
Nevertheless,The Very Naked Boy, The Flame Man,
The Medicine Show, by Stuart Walker, and Voices, by
Hortense Flexner.
Perhaps the exotic needs the balance of the common-
place. That can be the only reason why Mr. Walker
chose these interludes. The spell of Dunsany's Gods, or
Walker's Old Japan, is suddenly broken. Modern clothes
and modern chatter blot it out. Then again comes the
strange and exotic. But the modern play has broken

the atmosphere built up by the first Dunsany play, and
it is more difficult to become enthralled by the second
offering.
Contrast is doubtless desirable, but there are other
means by which it could be had. It would seem as if
the fantastic play might be a better foil than the modern

play, People go to the Portmanteau expecting the un-
STUART WALKER'S PORTMANTEAU THEATRE.
Above, a scene from Lord Dunsany's The Golden Doom.
Below, the Theatre unpacked and set for a performance.
usual, so that a performance blending the exotic and the

fantastic would not be out of the way.
But, after all, Theatres are an expression of per-
Little
sonality. Mr. Walker's programs express Mr. Walker's

idea of what programs should be. If there are defects,
these defects are slight ones. He has created a theatre
that is most part
absolutely unique; he gives for the
plays of a high order. There is no doubting his sincerity,
his courage, or his artistry. He has made the play, minus
sex appeal, succeed, though Broadway declares it can-
not; he demands less of his players than of himself, for

he is at once actor, regisseur, and playwright.
THE PROVINCETOWN PLAYERS
rLIKE the Washington Square Players the Provincetown
Players are a group of writers, editors, costume design-
ers, actors,and poets who have banded themselves to-
gether to produce plays.^ These players have for the
most part their habitat in or near Washington Square.
There they spend their Winters their Summers are spent
;
at Provincetown, Mass., on the end of Cape Cod, and

though the idea of the theatre may have come to them
in Washington Square it was on Cape Cod that it was
put into practise. To be sure, there was a single per-
formance of one-act plays given on a certain night in the
Winter of 1916 in the back room of the Washington
Square bookstore. But the first series of plays were given
quite simply on porches in Provincetown during the Sum-
mer of 1915. These went so well that an abandoned fish
house that was on a wharf was taken, and made into a
theatre (1916). It was scoured within and without.
Fish nets and lobster pots were ousted a stage was built
: :
and an auditorium was arranged, seating 200 people at

a pinch and 150 comfortably. Thus, at the end of a
wharf, with the Atlantic beneath and beyond them, the
Provincetown Players began. They had a large num-
ber of associate members, and the funds paid in by these
members gave a financial basis on which the players could
depend for their production.
46
THE PROVINCETOWN PLAYERS 47
This Wharf Theatre, admirably decorated, and with a

splendid lighting system installed, served as a laboratory.
The plays tried out there were later to be put on at the
Provincetown Players Theatre in New York, on Mac-
dougal Street, hard by Washington Square, and next
door to what was once the Washington Square book-
store, where so many Little Theatres have had their be-
ginnings.
The dues of associate membership would not have
been enough to establish a theatre in New York had not
the Provincetown Players been so fortunate as to gain
the interest of the Stage Society, who took the entire
house for the opening night of each production. It will
be remembered that it was the Stage Society that was

responsible for bringing Granville Barker to this coun-
try ;
and for giving Robert Jones a greater chance to show
the public his extraordinary scenery.
Tickets for the Provincetown Players are sold only to
members. They cannot be purchased at the door.
The Washington Square Players started with seats at
fifty cents Stuart Walker proposes having seats at that
;
price in his New York playhouse; but the Provincetown

Players have gone one better than this /a season ticket
can be had for four dollars, and that season ticket in-
cludes ten
performances^The purchaser of the season
ticket becomes an associate member of the Provincetown
Players. And these members, as has been said, are the
only ones who can purchase extra tickets for the per-
formances.
Ten performances for four dollars! No wonder the
house is filled !\And there are no reserved seats. First
come, first served. This holds good whether you are a

I
member of the four hundred or the four million. There
|
are 200 seats and no more. The theatre itself consists
of two long high-ceilinged rooms made into one such
rooms as one sees in the stately old houses of New York.
In the back room is the stage, a small stage curtained in
vivid purple. The theatre itself is in brown brown walls
and floor and brown benches for the audience. These
benches are arranged in tiers like a grandstand. There
are two doors leading into the theatre. They are a vivid
green. Above the proscenium arch is a bas-relief border
of bronzy gold. The purple curtain has a yellow border.
Everything about the theatre is primitive primitive color
and primitive accessories. Its strange bareness is attrac-
tive.
\The performances of the Provincetown Players begin

at a quarter to nine and last till eleven. Each program
consists of three or four one-act plays.
only Little Theatre in America at the present

It is the
writing that has both a Winter and a Summer home. It

is the only Little Theatre in New York whose avowed
}raison d'etre isproducing plays by living American
[authors principally by New York authors! It does not
I
import the works of foreigners. J As Provincetown is
essentially an American place, knit up with American
history, tradition, and art, so the purveyors of plays to

the theatre on Macdougal Street are mostly Americans.
The Provincetown Players differ from the Washington
Square Players in many respects; but in none more sig-
nally than in program-making. The Playwrights' The-

atre, as the Provincetown Players call their tiny play-
" " " "
house, is essentially a try out theatre, a feeder to
other theatres. The plays they produce are as frankly
" "
for sale as the pictures in an art store's gallery.
/The Provincetown Players give a new
fact that the
production every three weeks and that the people who

act are also engaged in doing other work shows that the
performances cannot approach perfection. JIndeed it must

be confessed that in this respect as well as in the tech-
nique of their plays the work of the Provincetown Play-

ers is extremely uneven. At one performance plays and
acting will be exceedingly good; while at the next per-
formance they may suffer a sea change. That the per-
formances are as good as they are when they are put
together so quickly worthy of comment, since all the
is
work of the theatre falls on the shoulders of the players,

y make and paint their own scenery, using their small
stage as a workshop the costumes are not only designed
;
by themselves, but literally created by their own work-

manship. ^JThey are dyed, cut, and sewn by the feminine
members of the staff. In some cases the costumes pre-.
pared at the Wharf Theatre in the Summer are used
again in thePlaywrights' Theatre in the Winter. Other-

wise it would be almost impossible for the players to
keep up with the demands on their time. The proper-
ties are likewise hand-made. The lighting experiments
used in connection with the various scenes are managed
by members of the Players. And these economies are
what make it feasible to run this Little Theatre on a
sum that a commercial manager would not believe pos-
sible.
There have been mistakes in program arrangement

such as was made one evening when all three of the
plays presented were gloomy in theme and outlook. But

these mistakes are few and far between, and the very
surprises offered by the Provincetown Players are tonic

and intriguing. If a current week's performance is not
up to the mark three weeks hence the program may prove

astonishingly rewarding. And as theWashington Square
Players have grown in stage craftsmanship from month
to month, so also have the Provincetown Players. Their
theatre is a theatre of surprises. It may on occasion be
lacking in technical proficiency ; but it is never lacking in

interest.
(The plays produced by the Provincetown Players are

those, as a rule, that are written, by their own memberO
If an outside playwright wishes to have a play produced
he must submit his manuscript to an active member, who
in turn submits it to the organization. Once a week the
Provincetown Players gather to read plays aloud. Three
|
[
I
plays are read in an evening, and the final selection made.
During the Summer of 1916 eleven original one-act
plays were given their first production at the Wharf The-
atre. To these were added two plays produced the pre-
vious Summer. The best of these plays have been trans-
planted to the New York Playhou'se of the organization.
During the Winter 1916-1917 thirty one-act plays by
American authors were given.
Ut is worthy of note that the most expensive pfoduc-
tion of the Wharf Theatre cost only thirteen dollars, in-
cluding scenery and costumes./

In the Playwrights' Theatre on Macdougal Street each
play is staged under the direction of its author: the the-

atre is essentially a place for dramatic experiment.
The prospectus of the Provincetown Players announces
that with the exception of two salaried officers who de-
vote their entire time to the work the members give their
plays and their services without recompense. Apparently
the players have divided themselves into two groups.
While one group of ten or twelve people are acting in
a play the other group is rehearsing.

As to the content of these plays the result is at once
interesting and disturbing. Here are plays by American

authors; yet how few of them are distinctly American
in locale or in theme; that is, most of the plays of the
Provincetown Players might be laid anywhere. Perhaps
this points to the fact that America is all countries com-
bined. It certainly points to the fact that the playwrights

of the Playwrights' Theatre go far afield for their themes.
The question arises as to whether the time devoted to the
American play had not been better spent in producing the
masterpiece of some foreign author. This question must,
Irishly, be answered by another. If the American author
of one-act plays does not get a chance to experiment in
an American theatre where else can he hope to find a
laboratory for developing his technique? Everything
" "
with the trade-mark Made in Europe finds readier
acceptance than ahome-grown play. Granted that the

American one-act play is very often not as good as its
foreign contemporary, how will it ever improve unless

its author is given a chance to try his powers ?
It may be said that no theatre can be wholly an Ameri-

can theatre which produces mostly the works of its own
coterie. This is true. But the very fact that the Prov-
incetown Players give preference to the American
author albeit the author in question is apt to be a mem-
ber of the^r own group a long step in the right direc-
is
tion, ffhey have already in their ranks several play-

wrights of signal power, among them David Pinski.
whose plays have been produced by Reinhardt :._ Susan
v^Glaspell, well known as
both novelist and playwright;
and jûgene O'Neill^Bon of the veteran actor, James
O'Neill. Eugene O'Neill is original in his themes and
in his treatment of them. His one-act play, Bound
East for Cardiff, with unusual scene-setting, showing
its
the interior of tramp steamer with bunks ranged in tiers
against the wall, remains one of the best things the

Provincetown Players have done. This play has been
1 sold to the Greenwich Village Players. It has also had
\ \production in several other Little Theatres throughout

fthe country. The stark realism of Mr. O'Neill's Before
Breakfast, with its one character a poverty-stricken nag-
ging woman, talking to her husband,' who is supposed to
be shaving himself off stage, was a grizzly and impres-
sive bit of realism, ending with the suicide of the hus-
band. This play has also been sold. Cocaine, the study
of a drug fiend, by Pendleton King, was powerful though
repulsive; while Suppressed Desires, by Susan Glaspell

and George Cram Cook, was the comedy success of the
theatre. It also has had production in several other
Little Theatres. Indeed a large percentage of the plays

tried out by the Provincetown Players have since been
placed either in Little Theatres or in magazine or book
form.
In the matter of scenery the Provincetown Players are
far more assured than in their acting. Considering the
size of their stage they have given some amazing effects.
Notably in the one-act play, The Fog, with its sense of
distance, of broad expanse of sea now partly revealed,
now hidden by driving mists. The scene was the work
of B. J. O. Nordfeldt. There have also been excellent
examples of scenery without perspective, and some de-
lightfully decorative effects by the Zorachs.
Plays produced during 1916-1917 include:
The Game, by Louise Bryant; Bound East for Cardiff,

by Eugene O'Neill; King Arthur's Socks, by Floyd Dell;
Freedom, by John Reed; Enemies, by Neith Boyce and
Hutchins Hapgood; Suppressed Desires, by George Cram
Cook and Susan Glaspell Before Breakfast, by Eugene
;
O'Neill; Lima Beans, by Alfred Kreymbourg; The Two

Sons, by Neith Boyce; Joined Together, by B. J. O.
Nordfeldt; The Obituary, by Saxe Commins; Sauce for
the Emperor, by John Chapin Mosher; A Long Time Ago,
by Floyd Dell Bored, by John Chapin Mosher Fog, by

; ;
Eugene O'Neill; Pan, by Kenneth MacNichol; Winter's

Night, by Neith Boyce; The Dollar, by David Pinski;
Ivans Home Coming, by Irwin Granich Barbarians, by ;
Rita Wellman The Sniper, by Eugene O'Neill The

; ;
Prodigal Son, by Harry Kemp Cocaine, by Pendleton

;
King; The People, by Susan Glaspell.

THE NEIGHBORHOOD PLAYHOUSE
( THE
Neighborhood Playhouse was founded in 1915
by Alice and Irene Lewisohn. It is outwardly and
inwardly one of the most satisfying Little Theatres

situated oil Gi aiid"Stfeel.
1
in this country. "Ti is It seats
411 people, and is, as its name implies, devoted to the

interests of its neighborhood. This theatre and the Hull
House Theatre in Chicago represent the Little Theatre

movement in its sociological aspect. This does not mean
that they are full of "uplift" or dry-as-dust drama!
Far from it! But it mean that they continually
does
place the best in modern drama before their public at

a nominal sum. Fifty cents will purchase a seat in the
orchestra row or the low-swung balcony of the Neigh-
borhood Playhouse/)
It is well known that this theatre is content to lose
rather than to make money if only its artistic and altru-
istic end be gained. Its purpose is twofold :
First, to
set before the people of its thronging tenement district
plays they could not otherwise hope to see; and also to

afford the young people of the neighborhood a chance to
act in plays and festivals, to give them imaginative^timu-
lus and emotionaloutlet after days spent in store and
office and factory. To the children of the neighborhood

it means a place where they can dance and sing in com-
munity festivals, and to the fathers and mothers a place
54
THE NEIGHBORHOOD PLAYHOUSE 55
where they can witness wonders undreamed of in Russia,
Poland, Galicia. It is indeed a Playhouse, a place for

recreation and neighborhood delight.
Associated with the Misses Lewisohn on the produc-
ing staff are MissAgnes Morgan, a playwright, and Miss

Helen Arthurs, for several years play reader at the
Shuberts. And from the year of its founding to the year
of her death an accomplished actress, Mrs. Sarah Cowell
Lemoyne, was actively connected with this theatre.
(The Neighborhood Playhouse is, with the exception of

MrT~Ames' Little Theatre, the best equipped theatre,
large or small, of which this country can boast*. It has
provided superlative comforts for.the actors in its won-

derfully equipped dressing rooms./ And it even betters
Mr. Ames' Little Theatre in its stage equipment in that
" "
ithas the only horizont in this country, that is, a
concave wall of white plaster at the back of the stage that
is flooded with varying lights and can thus give superb
sky effects. A particularly fine effect was given in the
first act of Bernard Shaw's Captain Brassbound's Con-

version (acted by Gertrude Kingston's company), where
the sunset melted imperceptibly from rose to lavender
and from lavender to a blue twilight impearled with mist.
The history of the Neighborhood Playhouse is as full
of human interest as the work done within its four
V^The Playhouse grew out of work done by the

walls,
dramatic clubs at the Henry Street Settlement under the

direction of the Misses Lewisohn. To these clubs belong
the young people of the neighborhood who, being Jewish,
had racially the fire, the intellectual hunger, and the
power of self-expression that makes for a plastic and

competent dramatic company. The Settlement stage and
auditorium became too small for the number of working
people who wished to participate as players and audi-
ence. further productions were given in Clinton Hall
^So
on tfieBowery.
There were from the first two types of productions:
the play of ideas and the festival play. In the festival
plays old and immemorially lovely stories were used,

Hiawatha, or the Sleeping Beauty, with opportunities for
dances and group effects. In the plays of ideas serious
modern authors had their say. From the very beginning
the policy of meeting both these needs has always ob-
tained, first in the Henry Street Settlement; then in

Clinton Hall; and latterly in the Neighborhood Play-
house. And there has always been an eager audience for
both.
The first play in Clinton Hall was The Shepherd, a
drama in blank verse, by Olive Til ford Dargan, and the
second, Galsworthy's The Silver Box.
/Later the Neighborhood Playhouse was built, and the
wo!*k of the Neighborhood Players
continued.)
Each
month they give a series of special performances, usually
of one-act plays. But the Neighborhood Players are not
the only ones who act at the Neighborhood Playhouse.
Its hospitable policy includes the work of both amateurs
}" and professionals. Guest artists famous stars come
there for a series of performances with their respective
companies. Ellen Terry, Gertrude Kingston, Ethel Barry-

more, Emanuel and Hedwig Reicher, David Bispham,
p
THE NEIGHBORHOOD PLAYHOUSE, GRAND STREET, NEW YORK.

and the Eric Blind have acted to packed houses.

late
For these performances there has been no change in the

price of seats. At certain seasons a locally famous Yid-
dish company gives Yiddish plays, which are the joy of
the older immigrants in the neighborhood who speak no
English, as well as a joy to immigrants lately landed,

and similarly handicapped.
There is never a time when the theatre is idle. On
Sunday afternoons there are movies for five and ten
cents to which whole families come flocking. Needless
to say thesemovies are of a high order, an antidote to
the blood-and-thunder cinemas that flaunt their luridly
melodramatic posters the length and breadth of the East
Side. There are also folk dances, readings, and orches-
tral concerts. The Neighborhood Playhouse is a home
of art in many forms.
Naturally, after its first performances, its fame spread.

People from uptown showed as keen an interest in its
offerings as did the people from Grand Street, with the
" "
result that the Neighborhood of the Neighborhood
Playhouse has widened to include all of New York that

looks upon drama as something better than a mere stop-
gap for the hours between eight and eleven.

Some of the festivals produced at the Neighborhood
Playhouse have been The Kairn of Koridwen; the ballet
Petroushka, with music by Stravinsky, and confetti
colored costumes; and Jephtha's Daughter, a re-telling of
the Old Testament story through spoken word, dance, and
chorus. The music for Jephtha's Daughter was taken
from ancient Jewish ceremonials, and traditional chants.
Indeed this whole festival, with its lyric feeling, its won-
derful Old Testament decorations, and its plastic group-
ing, was one of the finest achievements ever set before
Neighborhood Playhouse audiences. For one thing, the
Neighborhood Players looked the parts they were taking.

They were acting a moving story from their own im-
perishable history, and they lent to that acting ardency
and truth.
Amongst one-act plays produced by the

the many
Neighborhood Players have been A Marriage Proposal,
by Anton Tchekoff The Price of Coal, by Harold Brig-
;
house; The Subjection of Keziah, by Mrs. Havelock

Ellis Black 'Ell, by Myles Maleson The Glittering Gate,
; ;
by Lord Dunsany; A Sunny Morning, translated from

Quintero by Anna Sprague MacDonald; With the Cur-
by Sch.olom Asch.
rent,
rThey seldom produced plays by Americans; and

never, so far as can be ascertained, plays interpretative
of the locality of the city in which the Playhouse stands?
The most notable of all their achievements in the pro-
ducing of one-act plays was the almost startling success
won through that "tremendous trifle," A Night at an
Inn, by The Neighborhood Players gave
Lord Dunsany.
the first
production of this play, termed by many critics
the greatest one-act play written by any author in the
last ten years.The story of the robbed and revengeful
Eastern god seeking his thieving victims when they had
taken refuge in a lonely house set in a still lonelier
English moor, and implacably drawing them to their
death, was portrayed with imaginative power.
This play was to the Neighborhood Playhouse what

Bushido was to the Washington Square Players, a mile-
stone. Much of the interest now manifest in the work
of Dunsany undoubtedly traces to the stir created by
A Night at an Inn. That memorable performance at
the Neighborhood Playhouse set people to reading, see-
ing, and producing more Dunsany plays.

The Neighborhood Players and the festival groups
belong to the amateur side of dramatic work at the Play-
house. On the professional side of the work one of the
most popular of the yearly engagements is that of Miss
Gertrude Kingston and her company from the Little
Theatre in London. Miss Kingston appeared in reper-
toire in both long and short plays by Shaw and Dunsany.
During the season of 1916-1917 she gave three one-act
plays The Inca of Perusalem, by an anonymous author
:
supposed to be Bernard Shaw The Queen's Enemies, by

;
Lord Dunsany, and Shaw's Great Catherine. The Inca

of Perusalem was dull; Great Catherine was amusing;
while The Queen's Enemies created an impression only
second to that created by A Night at an Inn.
A of the productions of the Neighborhood
full list
Playhouse since 1915 includes the following:
FESTIVALS
Jephtha's Daughter, with music by Lilia Mackay-Cantell ;
A Thanksgiving Festival; Petroushka, with music by Stra-

vinsky; The Sleeping Beauty, with music by Tchaikowsky;
The Discontented Daffodils; The Shadow Garden of Shut-
Eye Town, with music by Lilia Mackay-Cantell ; Hiawatha,
with traditional Indian music; The Goose-Girl, with music
by Humperdinck; The Gift of the Fairies; The Jewel Box,
with music by Debussy; The Kairn of Koridwen, with
music by Charles T. Griffes.
PLAYS
The Shepherd, by Olive Tilf ord Dargan The Silver Box,
;
by John Galsworthy The

;
W oldies, by J. C. Hamlen Teth-
;
ered Sheep, by Robert Gilbert Welsh; Wild Birds, by

Violet Pearn Womenkind, by Wilfred Wilson Gibson Ry-
; ;
land, by Kenneth Sawyer Goodman and Thomas Wood

Stevens; The Price of Coal, by Harold Brighouse; The
Maker of Dreams, by Oliphant Down; A Marriage Pro-
posal, by Anton Tchekoff; The Subjection of Kesia, by
Mrs. Havelock Ellis; The Glittering Gate, by Lord Dun-
sany; A Night at an Inn, by Lord Dunsany; Ghosts, by
Henrik Ibsen; Lonesome Like, by Harold Brighouse; Red
Turf, by Rutherford Mayne; Captain Brassbound's Con-
version, by Bernard Shaw John Gabriel Borkman, by Ib-
;
sen; The Shadow, by Riccodenci; Early Morning, After

Burial, and Sisters, by Isaac Perez The Fires of St. John,
;
by Herman Suderman; Three Generations, by Ronetta

Ronano; An Enemy of the People, by Ibsen; Great Cath-
erine, by Bernard Shaw; The Queen's Enemies, by Lord
Dunsany The Inca of Perusalem, by an anonymous author
; ;
The Married Woman, by C. B. Fernald; Black 'Ell, by

Miles Maleson; A Sunny Morning, by Quintero; Pippa
Passes, by Robert Browning.
CHAPTER III
THE LITTLE THEATRES OF NEW YORK

CITY (Continued)
THE EAST-WEST-PLAYERS
THE East-West-Players are an interesting group of
young people who have not yet arrived at having a Little
Theatre; but they are working toward it and in the
meanwhile renting any theatre that they can lay their
hands on for special performances until a small theatre
can be found, or until some one interested in what they
have to offer helps them to their goal.
This company of players, mainly Jewish, gave their
firstproduction in New York in the early Spring of
1916. They are not diletants. They are a group drawn
directly from the working people. Teachers in primary
and grade schools, designers, stenographers, workers in
the various trades, clerks, and artisans are among their
numbers. Their work in the theatre and for the theatre
must be done after their day's work is finished. For this
reason they are one of the most significant of the many
groups of players in New York City. Their work is a

movement of the people, by the people, for the people.
They have raised themoney for their productions by
having each member of their organization contribute to
61
62 LITTLE THEATRES OF NEW YORK CITYi
the general fund. This has meant actual self-sacrifice for
art. The money gained through their productions is to

be placed in a theatre-fund for the future Little Theatre
which they hope to have.
A
group of workers who are also players is not a
new thing, even in New York. The Neighborhood Play-
house has a group of players who are employed during
the day, but their theatre is provided and their plays
selected for them. It is not their own money that makes
the production possible. The idea of a Neighborhood
Playhouse came from without, and worked back to the

working people. The cultural influence of drama was
provided for them. Advantages were placed before
them, and it was their privilege to avail themselves of
them.
With the East-West-Players it is quite different. With
them the impulse comes from within. They are not
blessed with a theatre. They must shoulder their own
responsibilities, and evolve their own policy. It is highly
to their credit that they have done all these things so
well. Their theatre is a definite expression of their own
thought, and a new contribution to Little Theatres in
general. They are in a measure to the literature of the

Yiddish stage what the Irish Players are to the litera-
ture of the Irish stage. But they have no Yeats or
Lady Gregory to lead them. They are fundamentally
self-led.
The policy of this group expressed in its name the

is
East- West-Players. The Jews are an Eastern people to
bring the unknown plays of the East to the people of

THE EAST-WEST-PLAYERS 63
the West is what these players are striving to do. By

accomplishing this they open doors on a life and litera-
ture, on a set of customs and traditions that are wholly
unknown to the Western theatre-goer. Therein lies the
value of the East-West-Players' work, its stimulation
and interest. Plays that would otherwise go unpro-
duced or unheard of are brought to light by their
efforts.
They began their work in the Educational Alliance
auditorium on East Broadway, the centermost place

of the intellectual life of the East Side. In this vicinity
Yiddish papers are published and Yiddish books sold.
Here poets of the sweatshop have sung their sad songs
of labor and longing. Here are to be found the black
and white postcards, by Lillien, depicting Jewish life
in Russia and America, touching it with fire and poetry
pictures as extraordinary in their poster effects as the

work of Aubrey Beardsley, yet totally different, and
absolutely original. This was the locale in which the
East-West-Players started, a locale in which many of
them live. East Broadway is to them what Washington
Square is to the Washington Square Players.
Their first program consisted of four one-act plays,
translated from the Yiddish. He and She, by Isaac L.
Perez; and Colleagues, by Zalmon Libin, the most com-

mercially popular of all Yiddish playwrights; Night, by
*
Sholom Asch; and The Stranger, by Perez Hirshbein.
1
The East- West-Players were the first to bring the work of
Asch to the American public, though Reinhardt had already pro-
duced one of his plays in Berlin.
Greatly encouraged by the success of these plays, which

were repeated a number of times, the East-West-Players
rented a little uptown theatre, the Berkeley Lyceum,
where they gave further consecutive performances of the
same program with but one change in it. The Yellow
Passport was substituted for He and She. Early in
1917 the Garden Theatre was taken for a few perform-
ances, and a third program produced. This consisted of
The Stranger, Paul and Virginia, by James Rorty;
Night; and The Awakening of Narradin, an Arabian
Night's fantasy, by Gustav Blum, the director of the
organization, and Elias Lieberman, translator of The
Stranger.
The Stranger and Night are the best offerings of this
group so far. In The Stranger, a fantastic play, the
scene is laid in Russia, on a Sabbath night, and the story
is wrought around an old Jewish observance that of
leaving vacant a chair at the table so that if Elijah the

Prophet were passing he might come in and break bread.
This he does, in the house of Chayim David, a poor vil-
lager. The atmosphere of this play, with, its mysticism
and sacred beliefs, was splendidly sustained. Night, the
allegorical play, by Sholom Asch, was equal to the best
of Andreyeff in its dark color, its power of stripping the
souls of men. If the other Yiddish plays produced by
this organization do not as yet equal The Stranger or
Night it is scarcely to be expected that they should for
Night and The Stranger would be rare finds in any litera-

ture. Paul and Virginia, a modern offering of the occi-
dental world, was commonplace The Awakening of Nar-
;
radin was excellent in color. Music was written for it
by a member of the organization; costumes designed

its
by still another member. This was a good production;

but it as compelling in interest as the Yiddish
was not
because it was familiar, and because any other group
plays
of players might have given it. It lacked the stamp of
race.
Twenty-five cents to one dollar was the democratic

price of seats for this venture.
The East-West-Players have now announced that they
will continue to follow their original intention of giving
Yiddish plays only. All their plans cannot be divulged

in advance; butundoubtedly the plays of David Pinski
will have a place on their programs Pinski, whose
Treasure was produced by Max Reinhardt in Berlin in
1910; who is the author of a well-known pamphlet
Dos Yiddishe Drama who has written many plays deal-
;
ing with the hopes and struggles of the Jewish prole-

tariat. He has also written a series of poetic one-act
plays dealing with the life of King David, all of which
may in time form grist for the mill of the East-West-
Players. There are other plays by Perez Hershbein that

will doubtless be produced plays of a darker color and
more tragic texture than The Stranger, Sholom Asch,
the greatest of all Yiddish dramatists, will be re-intro-
duced not alone as a mystic, but as a creator of genre
studies. The one-act plays of Sholom Aleichem, the
Yiddish Mark Twain, may also find their place in East-
West programs.
In producing translations of Yiddish plays the East-
West-Players give something that can be found in no

other place in this country. It is difficult, their director
says, to get enough of these plays, since the Yiddish The-

atre has only been in existence since 1876. Yet in no
other way can the East-West-Players make as distinct
a contribution. Their translators should search further
through Yiddish literature, through folk tale and fable,

and then set contemporary playwrights to work on what
they have found. The poets of the East Side, men of
the stamp of Rosenfeld, whose songs found echo in a
million hearts, might lend their creative ability to this
movement. In the offices of the Jewish press might be
found some young dramatist who could put the Yiddish
folk lore into simple dramatic form, if that folk lore were
found for him. Immigration is another theme that the
East-West-Players have not dealt with. The comedy
side of immigration has been shown in our theatres;
but deeper side, the tragedy of the middle-aged in
its
the New World, trying to accustom themselves to new
conditions, is untouched. The mother who cannot speak

English and who feels her children growing away from
her is an endlessly pathetic figure that would make a
strong appeal.
Nor need the work of the East-West-Players be con-
fined to the modern world. The Old Testament is rich
in undeveloped dramatic material. If theSong of Solo-
mon has been made into an arrestingly lovely pantomime
by a dramatist in the Little Theatre of Baltimore, why
are there not a hundred Biblical themes from which tne
East- West-Players can choose their material? Nor is
this all.The old religious plays of the Hebrew Purim

are unknown to Western audiences. The East-West-
Players might render them familiar. It is not in the
East of the Arabian Nights that their greatest talents lie;

but in the East of Israel, her customs and traditions.
BROOKLYN REPERTORY THEATRE
NOT actually a Little Theatre movement in the exact
sense of the word, yet undoubtedlystemming from it

is work done by the Brooklyn Repertory Theatre
the
Company, a group of professionals of good standing

who, with very simple scenery, costumes, and accessories,
have given satisfactory performances in the auditorium
of the Brooklyn Y. M. C. A. Their repertoire is made
up of modern plays, non-commercial in their appeal.
These players have made it possible for Brooklynites to
see much that is interesting in drama without journey-
ing to Manhattan for that privilege. The price of ad-
mittance has been kept within the limits of slender pocket-
books. Some of the plays given by this company have
been: The Bank Account, by Howard Brook; A Ques-
tion of Morality, by Percival Wilde; Sweethearts, by
W. S. Gilbert; Sabotage, by Valcross and D'Estoc; and
the Spanish drama, Zaragueta.
68
THE NEGRO PLAYERS
HAD not the Little Theatre movement fostered the new,

the original, the unusual things of drama it is
very pos-
sible New York never would have seen the Negro Play-
ers, and a stimulating controversy would have been lost.
For the Negro Players, during their first week's per-
formances at the Garden Theatre and later in an uptown
theatre, were a storm center for critics and drama en-
thusiasts, and such storms make people think about the
theatre in terms more creative and constructive than is
their wont.
The Negro Players under the management of Mrs.

Emilie Hapgood and the direction of Robert Edmond
Jones appeared in three one-act plays written about their
own race by Ridgely Torrence, the American poet. The
strength, beauty, and impressiveness of these plays, The
Rider of Dreams, Simon the Cyrenian, and Granny
Maumee, were beyond question.
It was the first time that Negroes had ever appeared
in plays interpretative of their own race. This was a
significant fact. But it would have been more significant
had the plays been written by an author of their own
race, and had the desire to act in the plays been a racial
desire expressed from within instead of imposed from
without. Then the whole production would have had
69
deep racial expressiveness. As it was, it was interesting

as an experiment.
Negroes have acted before in New York. They gave

a Shakespeare Tercentenary performance of Othello
wholly on their own initiative; but the appearance of a

Negro company in plays of Negro life was something
new under the sun. One New York critic declared that
the fine flavor of the plays was
through the amateur-
lost
ishness of the acting, and that though the players looked

the parts they impersonated, they did not sound their
depths. Other critics praised the acting for its natural-

ness and pictorial qualities. So the war waged!
Between the one-act plays the Cleft Cktb Singing
Orchestra gave genuine delight. They played the music
of a Negro composer, Rosamond Johnson, whose songs
and marches have given pleasure to thousands.
THE MORNINGSIDE PLAYERS
THE Morningside Players were established in the Fall
of 1916. They are a group of professionals and ama-

teurs, many of whom come from the vicinity of Columbia
University. They are not a Little Theatre group; yet
have undoubtedly been more or less influenced by the
Little Theatre movement. They produce long plays and
one-act plays written by members of their own group.
Sporadic performances of these plays have been given
in various theatres of Manhattan. So far they have
struck no particularly significant note either in dram-
aturgy, scenery, or costumes. The most ambitious of

their offerings, The Iron Cross, by Elmer Reizenstein, .
author of On Trial, was a play protesting against the'

horrors of war. It was not a memorable piece of work.
There is talk, however, of making the Morningside Play-
" "
ers into a regular Workshop Theatre group, 'actively
connected with the classes of drama and playwriting in
Columbia University, in other words, of making the
Morningside Players into a genuine Columbia University
Theatre group, in which the players shall be chosen from
Columbia and Barnard the scenery and costumes designed
;
by Columbia and Barnard students and last, but not least,

;
the plays written by the students in the classes of play-
writing. Should such a change take place, work of genu-

71
ine significance may be looked for, since such eminent
authorities as Brander Matthews and Clayton Hamilton
are on the drama staff of the University, the latter hav-
ing a class of would-be playwrights seldom numbering

less than 150.
THE GREENWICH VILLAGE THEATRE
Herman Lee Meader, Architect.
THE GREENWICH VILLAGE THEATRE, NEW YORK CITY
AMONG the newest of new Little Theatres planned

for New York is the Greenwich Village Theatre, to be
run by Mr. Frank Conroy, a graduate of the Washing-
ton Square Players.
For a theatre which purposes giving unusual ijon^
commercial plays no playhouse in New York will be bet-
ter situated than the Greenwich Village Theatre, tucked
away in a quaint part of the city known as Sheridan
Square. Richard Brinsley himself would have delighted
73
in the Pomander Walk two-story houses of cream and
green and pinkish red that face the theatre and that
are whimsically reminiscent of the days when Green-
wich Village really was a village, and when the three-
cornered grass plot in front of them almost as big as
a lace handkerchief really was the village square. This
odd corner of New York, flavorsome and unexpected, is
such an admirable setting to the theatre that it will do

much toward giving it vogue. All about live artists and
painters and actors some of the already famous;
others on the way toward being so.
The exterior of the theatre will express the neighbor-

hood traditions by recalling architecturally the period of
early colonial work in New York. The fagade of the

theatre will be of red brick, white stone, . and wrought
iron. The Greenwich Village Theatre will be like one of
the old homes of this quarter, dignified and stately. The
main auditorium will be colonial. It will have no boxes.
There will be a narrow balcony across the rear. The
four walls and their diagonal corners will be symmetrical,
designed to give the effect of a large room in a private

mansion rather than a place of public amusement. The
walls are to be in ivory white with old blue drapery, and
there are crystal chandeliers. The lobby and lounge will
be in Dutch tile; the lounge, unlike the usual smoking
room, will not exclude women. Indeed it is both lounge

and art gallery, for its walls will be decorated with pic-
tures painted by members of the Art Colony of Greenwich
Village. As soon as one exhibition ends another will
begin. It has been the aim of the theatre management to

THE GREENWICH VILLAGE THEATRE 75
make the Greenwich Village Theatre an art center.
Sunday night concerts at popular prices will be given.

Informal lectures and conferences on art, literature,
"
music, and the drama will also be held. In fact," as
"
one of the people interested in the theatre says, we hope
to make our Little Theatre a teeming center of artistic
expression of every kind, showing in a small way the

correlation ofall the arts."
The prospectus of the Greenwich Village Theatre

says:
"There is a certain portion of the public to whom
the theatre means much more than a mere form of
casual entertainment. The great interest shown in the
recent experiments made by several groups of semi-
amateurs in the producing field has proved beyond a
doubt that not only does such a public exist, but is an
enthusiastic and an ever-growing one; in other words,
a public dissatisfied with the usual fare offered by the

commercial theatre and eager for something better, finer,
and more satisfying to its artistic taste. In view of this,
it would seem that the time is now
ripe for the permanent
institution of a small theatre thoroughly progressive in
spirit and designed from first to last to meet the needs
of this portion of the playgoing public. It is with this

end in view that the Greenwich
Village Theatre comes
into being."
As "
to the policyNo set policy will be adhered to
:
regarding the length of plays presented, thus affording

greater scope in the matter of selection. Plays by the
more important European dramatists hitherto unseen in
this country will be given. Particular attention is being
paid to younger American playwrights this field is full
of promise and already some interesting discoveries

have been made. Occasionally a classical play will be
revived.
NEW YORK'S AMATEUR COMEDY CLUB
WHILE the Amateur Comedy Club, Inc., of New York,

founded 1885, is not directly influenced by Little The-
atres, and does not possess a theatre of its own, it is
from the point of view of amateur dramatic
interesting
work because of the record of its productions which are
given in various theatres rented for the occasion. It has
given six plays by Pinero, which is more than any other
organization in this country has done with the work of
this particular author. These plays have included The
Amazons, Sweet Lavender, The Magistrate, etc.
Amongst its other productions have been You Never Can

Tell, and How He Her Husband, by Shaw;
Lied to
The School for Scandal and The Critic, by ShefTdan;

London Assurance, by Boucicault Sweethearts, Engaged,
;
etc., by W. S. Gilbert. The Maister of Woodbarrow, by

Jerome K. Jerome ; Pantaloon, by Sir James Barrie ;
One of Our Girls, by Bronson Howard; Held by the
Enemy, and All the Comforts of a Home, by William
Gillette. These productions repeated plays that had
already been made familiar on the professional stage;
but in the last few years a genuinely creative rather than
an imitative policy has been adopted by the
Comedy
Club. They gave the first production in America of
Dunsany's The Gods of the Mountain, rendered memo-
rable alike by its fine inscenation and its fine a
acting;
77
78 LITTLE THEATRES OF NEW YORK CITY,
performance of Austin Strong's impressive Drums

first
of Oudh, and of Cleveland Moffat's Greater Than the

Law. It also gave an admirable production of Dunsany's
The Golden Doom.
CHAPTER IV
OTHER LITTLE THEATRES OF THE

EAST
THE RICHMOND HILL PLAYERS
THE Richmond Hill Players of Richmond Hill, L. I.,
established1916-1917, do not as yet possess a Little

Theatre; but they will undoubtedly possess one in the
near future for they are working strenuously and
successfully for that end. Pending the time when they
have a theatre of their own they are using a rented hall
near their interesting barn workshop.
In taking this hall for their temporary theatre they
have had to overcome all manner of difficulties, and they
have done so with a spirit which augurs well for their
future efforts. The hall, when not in use for the three
performances a month given by the Community Players

of Richmond Hill, is a Masonic Temple. Scenic effects
having depth and verity have to be produced on a stage

twelve feet wide and nine feet deep with a proscenium
measuring only twenty-four feet. Added to this handi-

cap there is a drop curtain which goes with the hall and
cannot be removed. This curtain can best be described
in the words of Arthur Pollock, literary director of
the Players, who says that it looks as if it were painted
;with tomato ketchup.
79
8o OTHER LITTLE THEATRES OF THE EAST
Far from allowing themselves to be discouraged by
this enforced monstrosity the Players have turned it into
an asset for educating their audience. It is a clear case
"
of Look on that picture and on this." When the
ketchup curtain discloses the stage, 'having scenery that

is simple in line and lovely in color, the audience gets a
distinct impression of what the Players are trying to do.
They are trying to banish all that the ketchup curtain
stands for. The idea of establishing a Community The-
atre atRichmond Hill grew out of the success of a trial
performance of Oscar Wilde's The Importance of Being
Earnest, given in the Winter of 1915-1916. The group
who were later to form themselves into the Community
Players had been interested from the first in the Wash-
ington Square Players and their remarkable achievements
in creating beautiful scenery for small cost. The Rich-
mond Hill Players decided to do in a small way for
theircommunity what the Washington Square Players
had done on a larger scale for New York City. There-
fore they organized very early in the Autumn of 1916.
The group is made up of professionals and ama-
teurs, all of whom give their services to the theatre with-
out remuneration. This is made possible because they
have their performances every five or six weeks instead
of every week. This theatre represents the Community
Players' avocation, not their vocation.

The Community Players, heartened by the reception
of their initial effort The Importance of Being Earnest,
started a subscription list. Enough was secured from
"
this to cover the first running expenses of the theatre."
THE RICHMOND HILL PLAYERS 81
A barn was hired for a workshop, office, and rehearsal

room. Here scenery is painted and costumes made. The
Masonic Temple was hired for the performances. The
interior of this hall is not so irritating as its proscenium
curtain. The walls are cream color and there are fumed
oak panels and beams, so that when the scenery devised
by Ruth Hambridge or G. B. Ashworth is given to
view, and the ketchup curtain banished, there is some
sense of completeness. The auditorium seats 342
people.
Seventy-five cents and fifty cents was what the Com-
munity Players asked for seats for their first perform-
ance. This price was lowered to the democratic sum of
fifty and twenty-five cents for the next performances
with markedly improved results. The first audience was
complacent; and the house was not filled. The second

audience was homogeneous, and filled every seat in the
hall. Any suburb striving for a Community Theatre has
"
to face the fact that people say to themselves, Oh, I
can go to a show in New York for fifty or seventy-five
cents, and a better show at that." But at fifty and
twenty-five cents this spirit does not so easily arise. Here
isdrama reasonable-in-price-drama within easy reach,
without the trouble of commuting. This is the way an
audience is caught, and held when the work is as meri-
torious as that done by the Richmond Hill Community
"
Players. Better a full house at fifty and twenty-five
cents than a sparsely filled auditorium at higher rates,"
said the Community Players, and time has proved that
they are right. The sale of tickets added to the sub-

82 OTHER LITTLE THEATRES OF THE EAST
scription list, covers their running expenses, and leaves
them free from worry.
The accomplishments of the Richmond Hill Players
are twofold: they have formed the nucleus of a Com-
munity Theatre : and they have kept the spirit of this
theatre free and experimental. It is both a Community
" "
Theatre and a try-out theatre. One of the actresses
has, through her work there, received an offer of a pro-

fessional engagement from one of the most progressive
and artistic of the younger New York managers dis-
tinguished for the worth of his productions.

A
modern one-act play given its first production by
the Community Players, was purchased by a New York
"
manager. As a side light on costs/* the manager in
question equipped this play with a three-thousand-dollar

setting. The Community Players had put it on to their
own, the author's, and the visiting manager's satisfac-

tion for exactly six dollars !
Some of the plays in the repertoire of the Community
Players for their first season has been as follows :
Crispin, by Le Sage; Such a Charming Young Man, by

Zoe Akins ;
A House of Cards, Playing with Fire, and Ac-
cording to Darwin, by Percival Wilde; At Night All Cats
Are Gray, by Robert Garland ;
The Prodigal Doll, a mari-
onette comedy, by Santiago Rusinol; A Bright Morning f
from the Spanish of Quintero.
THE WORKSHOP THEATRE OF YONKERS
THE Workshop Theatre of Yonkers (1917) is unique

in that it is a theatre established by women, and run by
them. Young women are the directors and the players,
the playwrights, and scenic and costume designers. They
have fitted up a pretty little playhouse on Palisade Ave-
nue and given several spirited productions. These pro-

ductions have been such as children and young people
delight in; but like all true fairy tales there has been
enough of folk lore in them to make their appeal uni-
versal. These plays have been The Sleeping Beauty,
The Golden Goose, and The King of Camarand.
This theatre has no subscription system. It asks the
democratic price of fifty and seventy-five cents for its
performances.
THE DRAMA LEAGUE PLAYERS OF BUFFALO
THE Drama League Players of Buffalo (1917) have

up a small stage and installed an adequate lighting
fitted
system in the Drama League headquarters of that city.

During 1917 its stage decorations have been very simple,
even sparse. No elaboration has been planned for. Next
season experimentation in scenery is to go forward. With
real practicality the Drama League
Players of Buffalo
decided that instead of trying to do too much in any one
year they would devote each year a certain sum toward

accumulating all necessary for their Little The-
that is
atre. The Spring of 1917 was therefore given over to

acquiring the stage and its lighting equipment. 1917-
1918 will be scenery year, when scenery will be acquired.
So many Little Theatres try to do too much all at
once, and overreach themselves. The balance and far-
sightedness of the Drama League Players of Buffalo are

commendable, and make for stability. It is an ama-
teur group, with a skilful amateur as director. This

group produces one-act plays and leans toward the pro-
duction of work by American rather than by foreign
playwrights. Their first plays have been The Florist
Shop, by Winifred Hawkbridge; The Rescue, by Rita

Creighton Smith; and The Neighbors, by Zona Gale.
The activities of the Drama League Players of Buffalo
are not confined to their own small theatre. The Players
84
DRAMA LEAGUE PLAYERS OF BUFFALO 85
go and bring pleasure to people other than Drama

afield
League members, as when they presented Zona Gale's

significant play, The Neighbors, at the Buffalo Light-
house, for the Association of the Blind. As their report

"
quaintly and succinctly puts it : The Drama League
Players wish to be of use to the community."
THE LITTLE THEATRE OF ROCHESTER
ROCHESTER'S Little Theatre, founded by The .Drama

League in
February, 1917, is housed in the hall of the
Fine Arts building. Its attractive auditorium, decorated
in black and white, seats 250 people. The purpose of
the Little Theatre players is to produce in a simple and
convincing manner interesting and important one-act

plays by the world's best dramatists, European or Ameri-
can. The Little Theatre frankly announces that it makes
no boast of novelty since this idea is being successfully
carried out in many other cities.
The Little Theatre Players are all amateurs imbued

with the love of drama and a relish for hard work. So
far the Little Theatre has no director. The Little The-
atre Players stage their own
plays and design and make
their own costumes and scenery. Sincerity and sim-
plicity are their watchwords.
Their theatre depends upon the public for support.
There is no subscription system. The best seats in the
house are onedollar. The remaining sets are fifty cents.
The performances have been so admirable and met with
such response that the Rochester center of the Drama
League feels that the founding of this Little Theatre is
the most constructivework which they have yet done.
Among the plays they have produced are Fancy Free,
by Stanley Houghton; Pierrot of the Minute, by Ernest
86
THE LITTLE THEATRE OF ROCHESTER 87
Dowson Riders to the Sea, by John Synge A Marriage

; ;
Has Been Arranged, by Alfred Sutro; Kayat, an Arabian

Night's episode, by Milton Bond The Campden Wonder,
;
by John Masefield, and A Good Woman, by Arnold

Bennett. The production of the two last plays was con-
sidered by Rochester ians the most successful of the Little
Theatre offerings from the point of view of art. The
Little Theatre Players give one performance every month.
THE PRINCE STREET PLAYERS OF ROCHESTER
STILL another group of amateur Players are in Roches-

ter, using the Conservatory auditorium for their theatre.
They have been organized under the direction of Anna

Wynne O'Ryan. These Players are called the Prince
Street Players. They also give one-act plays by Euro-

pean and American dramatists. /They further announce
that they will produce plays which have not had previous
production, thus giving the aspiring young dramatist a

V chance to see his work acted. / The Prince Street Players
have no subscription system'. Their well attended per-
formances are given once a month. Seats range from
fifty cents to one dollar. Their opening bill consisted of
The Noble Lord, by Percival Wilde; A Marriage Pro-
posal, by Anton Tchekoff A Play in One Word, by Frank
;
C. Egan, and the first act of Lady Windermere's Fan, by

Oscar Wilde. The Theatre, which has been remodeled
from a quaint stable, seats 260
Other plays pro-
people.
duced by the Prince Street Players have been Dawn and
A House of Cards, by Percival Wilde; The Workhouse
Ward, by Lady Gregory; The Supper Scene from Anatol,
by Schnitzler; Duty, by Shamus O'Brien; The Locked
Chest, by John Masefield; 'Sauce for the Emperor, by
John Chapin Mosher.
*s
THE COMMUNITY PLAYERS OF
MONTCLAIR, N. J.
THE Community Players of Montclair, N. J., were

organized in the Autumn of 1916. They do not yet
own a Little Theatre of their own and like the Com-
munity Players of Richmond Hill, L. I., have to use

local auditoriums for their efforts until a tiny playhouse
is secured.Amongst the plays given by them in the
Autumn of 1916 was a production of Dunsany's Tents
of the Arabs. It had poetic costumes, setting, and ren-

dition.
89
THE NEIGHBORHOOD PLAYERS OF
NEWARK, N. J.
THE Neighborhood Players of Newark, N. J., a simi-

lar organization, leanmore to American plays, and have
(given productions of several plays by native authors,
notably The Noble Lord, Playing 'with Fire, and A
House of Cards, by Percival Wilde; The Alibi, by Wil-
liam Hamilton Osborne, of Newark; The Magical City,
by Zoe Akins and plays by European dramatists, includ-

;
ing Rada, by Alfred Noyes; Sabotage, by d'Estoc; The

Glittering Gate and the Lost 'Silk Hat, by Lord Dunsany.
"
The Neighborhood Players have a studio theatre,"
with an auditorium designed along studio lines. All
seats are reserved. They are fifty cents and one dollar.
Performances are given three nights a week, and the bill
changed weekly. At the Art Theatre in Moscow the
audience is not allowed to applaud. At the Studio
Theatre the audience is requested n6t to break in upon the
play with applause ; but to applaud only after the curtain

has fallen.
90
THE BRIDGEPORT PLAYERS
THE Bridgeport Players, organized early in 1917, are

working toward obtaining a Little Theatre. They are
wholly an amateur group. Their ultimate aim, after they
have established a Little Theatre in their city, is to pro-
"
duce good, wholesome plays, and to perpetuate and
uphold the best traditions of the theatre." This Little

"
Theatre is to be a theatre of the people, by the people,
for the people."
Its first production consisted of two plays meant tp
contrast the new and old schools of comedy. These plays
were Barrie's Twelve-Pound Look, and Sheridan's The
Rivals.
Until such time as the Little Theatre is built the Bridge-
port Players are using local theatres for the production of
their plays. members of the Bridgeport Center
Several
of the Drama League are also members or associate mem-
bers of the Bridgeport Players; but the founding of the
Players is not wholly a Drama League venture.

The Bridgeport Players are divided into two groups
an active group which will do active service for the the-
atre withinits four walls; and an associate
group who
forward the impulse through every means in their power
and who help to sustain the Players financially and artis-
tically by their presence as audience.
THE McCALLUM THEATRE OF NORTHAMPTON
(MASS.)
A THEATRE where seats are free ! Not a private theatre

where a few are put on an invitation list. Not a
select
college theatre, or an institutional theatre, or a work-
shop theatre, or a settlement theatre, or a philanthropy;

but a genuine Little Theatre with a permanent company
and a well-known stage manager as director a theatre
where any one who loves the art of the stage may attend
an evening of poetic plays or Shavian plays, or decora-
tive plays as freely as he may attend a public library, or
an art museum. Only he goes to see not a
in this case
static artbut a living art the art of the theatre. This

free theatre is one of America's unique contributions to
the rapidly growing list of differentiated Little Theatres
thatwe have in our midst today.
The town that boasts such a theatre is Northampton,
Mass., a place that Jenny Lind called the Paradise of
America. The famous songstress spent her honeymoon
there, and Paradise Road was named in memory of the
compliment she paid the town. What more natural than

that Paradise Road should be the street on which this
/ free theatre is situated. a gift of the townspeople
It is
]
from a public-spirited citizen, Mr. George B. McCallum,
\ and it is called after its owner, The McCallum Theatre.
It exists solely to awaken public interest in the finer things
92
McCALLUM THEATRE OF NORTHAMPTON 93
of drama. We have free libraries to inculcate love of
literature; free art galleries to awaken a love for the

best in art, why not a free theatre so that every one can
know what is being done along the lines of modern the-
atre literature as well as along the lines of modern
lighting and
scenery? At any rate, this is Mr.
McCallum's idea and he has developed some remark-
able results.
Northampton has playfully been hailed as the dramatic
Bayreuth of the United States because although it is a

small city it possesses three forces that work for drama
Smith College, with its fine yearly production of a play
the admirable Northampton Stock Company the on<
and only municipal theatre in America; and thirdly, th<
unique McCallum free theatre. Each of these has its
own field. Mr. McCallum's theatre does not compete
with the Northampton Municipal Theatre, because the
latterproduces plays that are in the main Broadway suc-
cesses; while the plays given in Mr. McCallum's Little
Theatre are those of Maeterlinck, Dowson, Galsworthy,
and Synge. The McCallum Theatre exists not for the
who has mental stimulus all the year round;
college girl
but for the townsfolk of Northampton in order that
they may interest themselves in the newer manifesta-

tion of theatre art.
Mr. McCallum believed that there was enough dramatic
talent lying dormant in the Connecticut River
Valley to
form a group which should be to the Valley what the
Irish Players are to Dublin with one exception. The
Irish Players give Mr. McCallum
plays of Irish life.
decided that his players should give plays by European
dramatists rather than by American dramatists because
the Northampton Theatre is already keeping the work
of American dramatists before the public. Thus the
policy of the McCallum Theatre may be said to be a
"
foreign policy."
" "
But in spite of its anything more
foreign policy
democratic than this theatre hard to imagine or any-
is
thing more original than the way in which the company

of community players were drawn together. In order
not to have the company represent a special social set
"
or group," Mr. McCallum advertised in the daily
paper in September, 1916, saying in effect that all those
who were interested enough in the art of community
acting to be willing to work hard for it would meet on
" "
a certain evening to try out for parts with the director
of the proposed Little Theatre. Every one was welcome.
Mr. McCallum's name did not appear in connection with
the advertisement. No one guessed that he had any-
thing to do with it. How
deep-rooted the love of drama
is was shown by the result. Northampton is a conserva-
tive New England town, of strong Puritan tradition, but
seventy people answered the advertisement, people from

all ranks of life. Nor were they all young people. Love
of drama is not confined to the early twenties. The early
forties take just as keen an interest in it.
From the seventy applicants thirty-two were selected

to form the nucleus of the permanent company. The
artist chosen as director of the theatre was Francis
Powell, well known for his work as stage manager with

Sothern and Marlowe and as coach of the Harvard Dra-

matic Club.
Merit was the touchstone of decision for enrolment in
the McCallum Theatre company. Members were chosen
according to what they could do, not according to who
they were. The company was largely made up of people
who had never met before, and this Mr. McCallum be-
lieves does away with self-consciousness. It certainly
does away with class-consciousness, that stumbling-block
of united effort !
Very few of the people had had experi-
ence in amateur dramatics. To
put them through a
rigorous training, to get unity and smoothness of per-
formance out of elements new and dissimilar was Powell's
"
job." The eagerness with which these problems were
attacked was a credit to every one concerned. The open-
ing performance showed team work, and inscenation equal
to the best in Little Theatre standards. People were
astonished at the finished work that could be done
by amateurs under professional guidance. Yet it has

always been Mr. McCallum's dictum that all actors
were once amateurs save those who come from
professional families where acting begins in the
cradle !
Since the McCallum Theatre is a free gift to the public

no one connected with it receives a salary save the direc-
tor, on whose shoulders the strenuous part of the work
falls. The scenery, costumes, and properties are provided
by Mr. McCallum as well as the theatre itself. The the-
atre occupies the top floor of Mr. McCallum's residence.
It seats 250 people. Its woodwork, beam ceiling, latticed
windows, and bench-like seats arranged in tiers are in
mission brown.
Rehearsals take place every afternoon and evening.
Each one-act play has its own evening and its own hour
of rehearsal. Strict attendance on rehearsals is abso-
lutely obligatory. It is also required that each member

of the company be a citizen or citizeness of Northampton.
No casual members from outside are admitted.
Meanwhile there was the problem of how the free
tickets were to be distributed. Since each member of
the cast gave his or her services to the theatre each mem-
ber was entitled to five tickets, and each member repre-
sented some different element in Northampton. This
meant many varying groups of people as possible
that as
"
received tickets. But to make certainty doubly cer-
"
tain Mr. McCallum had a mailing arranged which
list
should reach all Northampton's townsfolk in rotation.
Thus the elements of a free theatre were assured.

After the play is over refreshments are served down-
stairs, and people linger to discuss what they have seen,
and as proof of the socializing force of the theatre,
townspeople meet fellow townspeople whom otherwise
they might never have known, had they not discovered
interests in common. Postcards are distributed on which
the audience requested to send in criticisms of the plays

is
or questions about them or preferences for other dramas

which might be produced in the future. These postcards
are not signed in order that expression of approval or
disapproval may be perfectly free.

On each program there is a serious comedy, a farce,
a poetic play, or a play of ideas. Sometimes a decora-

tive play is substituted for a poetic play, that is, a play
depending absolutely on its picture qualities. One of the

most successful of these was a Chinese play, The Turtle
Dove, by Margaret Scott Oliver, where the proscenium
arch was arranged in the outlines of a Chinese jar, and
the scenes, exquisite in their coloring, took place on the
outside of the jar like figures in bas-relief.
Other plays of special interest, scenically and dramati-

cally, have been The Book of Tobet, with severely simple
setting and Biblical costumes rich in color Earnest

; Dow-
son's Pierrot of the Minute, staged in black and white,
the garden set having black walls on which fantastic
white flowers were stenciled. The bench, the statue, and
Pierrot and his lady love were in white. To have tried
to depict a real garden would have crowded the small
stage, so a garden was suggested, and by suggestion
caught the spirit of the piece. Strindberg's The Stronger
had a poster setting, a cafe with an oddly striped wainscot
and above the wainscot were panels, each panel stenciled
with a bird in a cage.
Of McCallum Theatre Mr.
the productions of the
"
Clayton Hamilton has said The acting is far above
:
the average, and the mise en scene is more than usually

meritorius."
It is to be hoped that the time will come when this
country may have free art theatres as well as free art

museums and libraries. The McCallum Theatre has led
the way in this direction. It has many excellencies, and
so far as can be discovered, only one fault. On its nar-
row golden-brown programs appear the names of the
various one-act plays yet the names of the authors who
;
have created these plays are never given. Thus through

an evening people can be left in doubt as to whether they
are listening to Rudolph Besier or Stephen Leacock.
Amongst the plays produced at the McCallum Theatre

have been Lithuania, by Rupert Brooke; The Good
Woman, by George Middleton; The Maker of Dreams,
by Oliphant Down Suppressed Desires, by George Cram
;
Cooke and Susan Glaspell; Pierrot of the Minute, by

Arthur Dowson; The Little Man, by John Galsworthy;
Roses, by Sudermann ; The Post Office, by Tagore ;
The
Stronger, by Strindberg.
Some account of Northampton's better-known Munici-
pal Theatre, which is not a Little Theatre, may be found
in the Appendix.
THE LITTLE THEATRE OF PHILADELPHIA
THE Theatre of Philadelphia, under the direc-

Little
tion of Miss Beulah E. Jay, was built by her in 1913

"
for the purpose of giving each season a repertoire of
the most interesting plays of all types by the most rep-
resentative authors ;
revivals of old plays and new plays :
a theatre where the finest traditions of the stage will live

and be fostered." No Little Theatre in the United States
has clung more tenaciously to the idea for which it was
established than has the Little Theatre of Philadelphia.
one of the best arranged Little Theatres in this
It is
country. Its auditorium, charmingly decorated in brown

and old gold, seats 330 people: its adequate stage is
equipped with every new device of the theatre save the

horizont. It has the newest effects in lighting and inscen-
ation; has a built-in tank by means of which the whole

it
stage can be flooded with water. An unusual regatta-

scene in one play made use of this innovation.
The permanent Little Theatre company is made up of
professionals and gifted amateurs; while from time to
time special engagements have been played by well-known
companies. These Have included Annie Russell and her

company; Lucien Bonheur and his company; Rudolph
Christian and the German company from the Irving Place
Theatre, New York; as well as the Washington Square

Players.
99
ioo OTHER LITTLE THEATRES OF THE EAST
Both long plays and one-act plays by American and
foreign authors have been given. Foreign authors have
achieved a greater number of productions than have
American authors. Two original pantomimes with
decorative scenery have been given. One of these was
Yoku-Ki, by Florence Bernstein, and the other The King

of the Black Isles, by Sarah Yarrow. This Little Theatre
does not make a point of producing new plays, as do
many of the other Little Theatres; still it has had some
very interesting first performances to its credit, including

Tomorrow, by Percy Mackaye, and His Majesty the Fool,
by Charlton Andrews.
Another point in which the Little Theatre of Phila-
delphia differs from its contemporaries is in the fact
that has no subscription system. It depends upon regu-
it
lar patrons. The price of seats runs from fifty cents to

two dollars.
The scenic effects are designed by Philadelphia artists,

and are admirably done.
The repertoire has included plays
by Bernard Shaw,
Henry Arthur Jones, Maeterlinck, Dunsany, Ibsen, Oscar
Wilde, Frank Wedekind, St. John Hankin, and Josephine
Preston Peabody.
PLAYS AND PLAYERS OF PHILADELPHIA
THE association known Plays and Players was

as
founded by Miss Emily R. Perkins in Philadelphia in
191 1. The organization is composed of experienced ama-
teurs and a few professionals. They produce about
twenty plays a year by European and American dram-
atists, giving a yearly total of fifty performances^
These performances are given on their own small stage,
and at various theatres rented for the occasion. They
are of a uniformly high order. The Players have been
acting together for six years, and their work shows the
result in its unity and balance.
The only source of revenue comes from the dues of
active and associate members, and this amounts to five
thousand dollars a year.

The plays are produced under the direction of different
members. Scenery and costumes are sometimes designed
by students or instructors of the Philadelphia School of
Design. Mr. J. Howard Reber, now president of the
Drama League of America, was at one time president of
Plays and Players, and Mr. Henry B. Schaffer, Jr., is
the secretary and general manager.

Plays and Players have recently purchased the site for
a Little Theatre, and the building will be opened in the
Autumn of 1917.
The stage will be sixty-four feet wide by twenty-five
101
i62 OTHER LITTLE THEATRES OF THE EAST
feet deep, having an opening of thirty feet, and tHe audi-
torium, seating approximately 500, by a simple process
may be transformed into a level floor. There will be
several rehearsal rooms, library, kitchen, and office.
The general scheme of architecture will be of the

Elizabethan period.
Plays and Players have produced during the past five
years among many others, the following plays :
The Learned Ladies, by Moliere The Ideal Husband, by

;
Oscar Wilde The Campden Wonder, by Masefield Noah's

; ;
Flood and Nice Wanton (XIV and XV Century Miracle

and Morality Plays) What the Doctor Ordered, by A. E.
;
Thomas ;
What the Public
Wants, by Arnold Bennett ;
Comus, by John Milton; Master Pierre Patelin (a French

comedy of 1464) The Doctor's Dilemma, by G. Bernard
;
Shaw The Little Stone House, by George Calderon The

; ;
Son and Heir, by Gladys Unger; 'Op-o'-Me-Thumb, by

Frederick Fenn and Richard Pryce Dolly Reforming Her-
;
self, by Henry Arthur Jones The House Next Door, by

;
J. Hartley Manners The Post-Office, by Rabindranath

;
Tagore; Lithuania, by Rupert Brooke; The Contrast (the

first American comedy), by Royall Tyler; and Tents of the
Arabs, by Lord Dunsany.
In addition to the plays just mentioned, a partial list

of the authors represented to the present time is as
follows :
Lady Gregory, Suderman, Yeats, Schnitzler, J. M. Bar-

rie, Middleton, Strindberg, Beulah Marie Dix, Debussy,
Houghton, Noyes, Vrehlicky, Brieux, Dunsany, Mapes,
Sutro, Grundy, J. Palmer, Elizabeth Baker, and Tchekoff.
CHAPTER V
THE LITTLE THEATRES OF CHICAGO

f CHICAGO, the largest city in the West, has three Little \
TKeatres, each one having a strong note of individuality. \
Taken separately they represent three distinct types of

theatres. Maurice Browne's pioneer Little Theatre rep-
resents the repertory art theatre; the Workshop The-
atre represents the localistic experimental theatre; the
Hull House Theatre with the Hull House Players repre- j
sents the sociological
THE LITTLE THEATRE OF CHICAGO
these theatres Maurice Browne's Little Theatre I
was the first to be established in 1911-1912. ^t is located/

on the fourth floor of the Fine Arts building on Michigan
Avenue,
(us charming interior is white outlined in gold,
and there are dark green seats. The auditorium is long
and narrow. The seating capacity is ninety-one.
From the day of its founding Mr. Browne, in the face
of seemingly insurmountable difficulties, has held to the
idea for which this Little Theatre was
established."}It
was not as easy to make a success of a Little Theatre
in 1912 as it is in 1917. There was no public ready and
103
104 THE LITTLE THEATRES OF CHICAGO
waitingfor the non-commercial fare Mr. Browne had to
offer, \fcle had to fight the early prejudice that labeled a
"
Little Theatre Dangerous ! Beware of Highbrowism."
It is a thousand times easier to succeed with the Little
Theatre today than it was when Mr. Browne
sought first
to establish his.People have become used to the idea of

Little Theatres. They are no longer looked upon as
strange and impractical*'
Maurice Browne's Little Theatre is thus described by
"
its founder : It is a repertory and experimental art
theatre producing classical and modern plays, both
tragedy and comedy, at popular prices. Preference is
given in its productions to poetic and imaginative plays,
dealing primarily whether as tragedy or comedy with

character in action. . . . The Chicago Little Theatre
has for its object the creation of a new plastic and
rhythmic drama in America."

The Little Theatre is supported by a membership of
some 400 people who pay an annual subscription of ten
dollars, and by the of seats to the general public.
sale
The subscribers who pay ten dollars a year are admitted

to, all performances of the Little Theatre Company with-
out charge, and to all other entertainments given in the

Little Theatre at half price. Admission is one dollar.
So admirably have the finances been managed that the

Little Theatre, which began with an indebtedness of
$10,500, was able to pay off fifty-five per cent, of its
debt after three months' work. And this work included
the production of plays produced primarily for love of
art and not for love of gain. The plays were simply and
THE LITTLE THEATRE OF CHICAGO 105
beautifully staged at surprisingly low cost. It is an

eagle's feather in the cap of Mr. Browne that eighteen
performances were given and well given in his tiny
theatre for a total of $868.62 !
The staff and players at the Little Theatre number

is semi-
approximately thirty-five people. (The company
pro fessionalTÛl those who have completed two years'
consecutive service with the theatre receive a small salary
averaging ten dollars weekly. During the first three and

a half years of the Little Theatre's existence no salary
was Jn excess of sixteen dollars and fifty cents a week.
Little Theatre produces plays by European and
^The
American authors^>One-act plays and three and four-
act plays have been produced in about equal numbers.
the greatest successes of the Little Theatre
Âmong
have been the remarkable production of Euripides, The
Trojan Women\thidi antedated Granville Barker's and
other "art productions of this time-defying drama;
the beautiful and reverent Christmas mystery play done
{and from the point of view of scenic art

in silhouette
Maurice Browne's The King of the Jews, and Maurice
Baring's Catherine Parr. Mr. Browne is stage director
as well as moving spirit of the Little Theatre and C. Ray-
mond Johnson his art
director!^ Mr. Johnson has de-
signed the investiture for all of the Little Theatre's most
significant productions.
The Trojan Women was a triumph for the Little The-
atre because it
brought the vasty deeps of that ancient
tragedy into a small playhouse onto a small stage and
yet gave the illusion of bigness. There was fine breadth
io6 THE LITTLE THEATRES OF CHICAGO
and sweep to the acting; the poses of the chorus were
plastic and pictorial. Its stern simplicity was far more
moving than Granville Barker's more elaborate pro
duction.
The Little Theatre produced The Trojan Women dur-
ing the season of 1912-1913. It was the first produc-

tion of this play in America. It was revived by the
Little Theatre Company during the season of 1913-1914
In the course of both these seasons itwas played in sev-
eral other American cities by the same company, who
revived it again during the season 1914-1915, and tourec
the country with it from the Atlantic to the Pacific Coast
The Trojan Women had one scene throughout: A
massive stone wall lost toview beyond the line of the
proscenium arch, formed the background. This stone
wall, jaggedly cleft in the center, showed the sky beyond
Not only were the massive squares of stone that formec
the wall played on by different lights as the play pro-
ceeded; but the sky beyond the jagged cleft changec

gradually from the intense blue of full day to the softer
colors of dusk, thus giving differentiation. The red o1
the flaming city also flared beyond this cleft, and char-
acters entering or leaving the scene stood out in dark
silhouette against the fiery background. It was a scenic
triumph made possible largely through its remarkable

lighting.
The Christmas Mystery Play was given totally in sil-
houette, with the figures of the New Testament story
moving inshadow bas-relief against the
flat curtain.
This shadow play was lit from the back. The slightest
Photograph by Eugene Hutchinson
The Sermon on the Mount at MAURICE BROWN'S LITTLE THEATRE,

CHICAGO.
From Moderwell's The Theatre of To-day (Lane). By permission.
Part of the Auditorium of THE HULL HOUSE THEAIRE, CHICAGO.

miscalculation of distance or of lighting would have
wrought havoc with it; but it was from first to last

superbly done. Looking at it one felt that this was
perhaps the only way in which the story of the New
Testament could be told without offense. The characters
were not substantial flesh and blood, but figures of
strange mystery, moving as in a dream.

Mr. Johnson's work as a colorist was seen to advan-
tage in his costume effects for Maurice Browne's King
of the Jews. Here color became a symbol, as in the harsh
red and gold of the Roman guard. The costume of Judas,
a sinister muddy green combined with muddy lavender,
gave his vivid red hair and beard a startling effect.
Caiphas was curiously effective in purplish gray and

ochre. The Little Theatre is fortunate in its decora-
tions. The banquet hall scene, designed for Maurice
Baring's Catherine Parr, was memorable for its greenish-
blue banquet table and greenish-blue high-back banquet
chairs set against the background of heavy bluish-purple
curtains. These curtains parted to display a flat Rein-
hardtesque wall of apple green. another strange

Still
and regal effect was attained through a Little Theatre

design of purple banquet chairs and table placed against
the background of dark green hangings that parted on
the flat wall flooded with yellow light.
4j was a dictum of August Strindberg's that no Little

Theatre with a small stage could ever present outdoor
scenes successfully. The Chicago Little Theatre has
shattered this ideaby a design made by its art director
for a midsummer wood. This design was recently ex-
io8 THE LITTLE THEATRES OF CHICAGO
hibited in New York. It showed a scene flooded with
the bluish white of moonlight. There was a shallow
stage and a back drop of faint bluish white. In the cen-
ter of this backdrop was a great creamy midsummer
moon, round and low-lying, just coming up over the rim
of the midsummer dusk. One great dark branchless tree
trunk soared up beyond the proscenium arch, and was
lost to view. To look at this scene was to feel that in
a moment Titania and her fairy revelers would appear.
It was of magic loveliness, yet simplicity itself/^
Mr. Browne's Little Theatre has been a potent influ-
ence in the art of the West and its players, many of

whom are now appearing in other Little Theatres, are
spreading the non-commercial gospel for which he stands.
The repertory of the Chicago Little Theatre has in-
cluded the following plays:
The Trojan Women and Medea, by Euripides Hedda ;
Gabler and Rosmersholm, by Ibsen; Creditors and The

Stronger, by Strindberg; Anatol, by Schnitzler; The Happy
Prince, by Oscar Wilde, dramatized by Lou Wall Moore
and Margaret T. Allen; Delphine Declines, by Leonard
Merrick, dramatized by Oren Taft; The Pixy, The Moth-
ers, and The Subjection of Kezia, by Mrs. Havelock Ellis ;
On Strand and The Shadowy Waters, by W. B.

Bailees
Yeats The
; Philanderer, by George Bernard Shaw Women- ;
kind, by W. W. Gibson; Joint Owners in Spain, by Alice

Brown Catherine Parr, by Maurice Baring The Maker
; ;
of Dreams, by Oliphant Down; Mr. and Mrs. P. Roe,

by Martyn Johnson; The Fifth Commandment, by Stanley
Houghton The Constant Lover, by St. John Hankin Jael,
; ;
by Florence Kiper Frank; The Lost Silk Hat, by Lord

Dunsany; Columbine (also produced as a puppet play), by
Reginald Arkell; The Deluded Dragon (a puppet play), by

Harriet Edgerton and Ellen Van Vo&enburg, and The Chi-
cago Little Theatre Passion Play (in pantomime and in
silhouette).
Most of the above plays were produced at The Little
Theatre for the first time in America, many for the first
time on any stage.

THE WORKSHOP THEATRE OF CHICAGO
CERTAINLY no Little Theatre in the United States gets

thework of its theatre group more surely and quickly
before the public than does the Workshop Theatre of
Chicago, a Little Theatre with an enthusiastic following

and with a strong note of individuality in its efforts.
The Workshop Theatre opened in igiii._ Its policy is
to give first performances only. It will produce only

plays written by Chicago authors, acted by Chicago ama-
teurs, with scenic effects and costumes designed by Chi-
cago artists. No others need apply! The Workshop
Theatre is absolutely localistic and glories in the fact.
The programs are given one week in each month, run-
ning six consecutive nights.
The Workshop Theatre began without any money
merely a printed announcement that it intended to be
an experimental theatre where ideas could be worked
out in actual practice. The theatre would finance itself
through two groups, one composed of active and the other

of associate members. The dues for membership were
exceedingly low. Active members included all those who

wanted to write plays, act in plays, or produce plays :
also all those who wanted to experiment with scenery,
properties and costumes. For these members the initia-

tion fee was five dollars, with monthly dues of one dollar.
These dues entitled the members to two tickets for the
THE WORKSHOP THEATRE OF CHICAGO in
program of the month and as many guest tickets at fifty
cents as they cared to use.

Associate members, were to pay monthly dues of one
dollar, which entitled them to two tickets for the program

of the month and as many guest tickets as they cared to
use at fifty cents each.
These were the rates outlined in the Workshop
Theatre's first prospectus and they have not changed
since.
Applications to join the Workshop Theatre poured in.
How speedily people became interested is attested by the

one year's work the Workshop Theatre
fact that after
had 100 active members, and 100 associate members.

Ithas entirely financed itself. There is no deficit. More-
over, it runs straight through the year, Summer and
Winter. It is the only Little Theatre on record that does
this. No one connected with the theatre receives any
salary whatsoever.
While the Workshop Theatre is essentially an amateur
theatre it numbers several professionals in its actors
and its members include both known and unknown

playwrights. Amongst the former may be mentioned
Alice Gerstenberg, author of Overtones and Alice in
Wonderland; Mary Aldis, author of 'Plays for Small
Stages; Kenneth Goodman and Ben Hecht, well-known
one-act play dramatists.
The Workshop Theatre produces one-act plays and
pantomimes. Occasionally a full evening is given of one

author's work an exceedingly interesting experiment.
The artists most actively connected with the theatre are
ii2 THE LITTLE THEATRES OF CHICAGO
J. Blanding Sloan and Charles P. Larsen. Most of the
stage designs, whether simple or exotic, are the work of
Blanding Sloan, who combines a keen sense of color
values with an equally keen sense of economy. It is
interesting to note that this theatre in fourteen months

has given twelve new performances, has produced thirty-
one new plays. Ten performances of three one-act plays
each have been given for $2,000. And this $2,000 in-
cludes rent, light, printing, scenery, costumes, and acces-

sories. The costumes and scenery are designed and made
in the Workshop Theatre's studios.
The auditorium of the Little Theatre which the Work-
shop Players have arranged, seats eighty people normally ;
but it can and often does without undue crowding

seat 100 people. The stage measures seventeen by fifteen
feet. The proscenium arch is twelve feet high.
Every one connected with the theatre has a free hand

whenever his or her work is under way. The Work-
"
shop welcomes the dramatist seeking new effects, and
the radical in stagecraft, who will be given a chance to
prove his ideas, working with fellow artists and assist-
ants, mutually interested in testing, under favorable con-
ditions, one another's efforts to secure variety and beauty

along new lines."
The producing of the play as well as the acting of the
play is dividedamong the members. Usually an author

produces his own play, though this custom does not
always obtain. The same group of players, numbering
from twelve to eighteen, appear in the consecutive plays
of one week's bill while the next group is rehearsing.
THE WORKSHOP THEATRE OF CHICAGO 113
This enables the audience to see each player in several

parts.
Plays tried out on the little stage of the Chicago Work-
shop Theatre have since been acted at many other Little
Theatres. One
of them was given by the Washington
Square Players; another by the Workshop Theatre in

New York; still others at various Little Theatres in the
East and West.
The Workshop Theatre of Chicago is essentially an
original and practical theatre. From the first it has been
"
a theatre of deeds not words." It has not talked about
getting a thing done; it has done it. There is nothing

sporadic in its pushes evenly toward
work. It its goal.
It makes certain promises and fulfils them. It is a hive
of industry and of unflagging energy, and it deserves its
popular as well as its artistic success. It

puts artist, play-
wright, and actor in touch with their public at a minimum
cost and at a minimum expenditure of time and effort.
The repertoire of this admirable Little Theatre has
included the following plays :
1916
Brown, by Maxwell Bodenheim and William Saphier;
The Home Coming and The Wonder Hat, by Ben Hecht
and Kenneth Sawyer Goodman; Ten Minutes, by Oren
Taft, Jr. ;
Pierrot in the Clear of the Moon (a pantomime
by Gretchen Riggs) An Idyll of the Shops, by Ben Hecht
;
and Kenneth Goodman; A Man Can Only Do His Best, by

Kenneth Goodman The Red Flag, by Kenneth Goodman
; ;
The Hero of Santa Maria, by Ben Hecht and Kenneth Good-

man; Dregs, by Ben Hecht; Civilisation, by Elisha Cook;
Snow-White, by Marie L. Marsh; The War Gamely Alice
iH THE LITTLE THEATRES OF CHICAGO
Gerstenberg and Rienzi de Cordova The Magnet, by Mary
;
Corse The Man, by Oren Taft, Jr. The Pot-Boiler, by

; ;
Alice Gerstenberg; The Lullaby, by Louise Hubbard.
1917
Poet's Heart, by Maxwell Bodenheitn; The Children of
To-Morrow, by Maude Moore-Clement; How Very Shock-
ing, by Julian Thompson; Mrs. Margaret Calhoun, by Ben
Hecht and Maxwell Bodenheim; Skeletons Out of the
Closet, by Elisha Cook; You Can't Get Away From It, by
Frederick Bruegger; Rumor, by Frederick Bruegger; Out
of the Dark, by Donovan Yeuell; Tonsils, by Marie L.
Marsh; No Sabe, by Elisha Cook; Where But in America!,
by Arthur Munro; Banbury Cross, by Frederick Bruegger.
THE HULL HOUSE THEATRE
THE Hull House Theatre, the first and most important

settlement theatre established in the United States, is
an example of the Little Theatre with sociological aspects.

By far the greater number of plays given in this theatre
by the Hull House Players have a definite social idea
back of them. They are constructive plays. This does

not mean that the smiling face of the muse of comedy
is turned away from the Hull House Theatre, or that
plays are not given there which depend on their sheer

beauty of effect. There is room for Ben Jonson's Sad
Shepherd and W. S. Gilbert's lively Engaged, or Shaw's
You Never Can Tell. But in the main the plays pro-
duced by that very capable and interesting group, the
Hull House Players, are dramas voicing the problems
and unrest and passionate strivings of today, the adjust-
ments and readjustments of modern life. Galsworthy,
Ibsen, Masefield, Sowerby, Kenyon, and John Ervine
St.
are the authorswhose plays best express what the Hull

House Theatre stands It is interpretative of strug-
for.
gle, of the knowledge of bitter inequalities, of valiant
aspirations.
The theatre seats 230. Its plain interior has walls of
dull red brick. The proscenium curtain is dull red with
a decorative border. There is a balcony but no boxes.
There are frescoes on all sides, mural paintings filled with
the ideas which dominate the theatre's productions. The
"5
young Lincoln is seen at work on one panel; while on
another, his white beard blowing in the wind, is Count
Leo Tolstoy and his plow.
The Hull House Players are a group of amateurs with
professional standards, who work during the day, and
devote their leisure hours to acting, under the direction of
Laura Dainty Pelham.
The organization was founded in JU^QG and has con-
tinued ever since. The interest of the members is as
keen as in the beginning.For a long time membership
in the company was limited to fourteen. But recently
this limit has been set aside, and the Players are
besieged with applications from ambitious amateurs

eager to join their ranks.Talent combined with a capac-
ity for hard and eager work is the touchstone of ad-
mittance to the ranks of the Hull House Players.

The price of seats in the Hull House Theatre ranges
from twenty-five to fifty cents. The audiences are com-
posed partly of the people of the neighborhood, and
partly of people from uptown with whom it has become
a custom to dine in the Hull House coffee house before
attending the performance of the Hull House Players.
The Hull House Players use simple, unobtrusive scen-
ery. Now and again elaborate sets are designed for them
as in the third and fourth scenes of Shaw's Great
Catherine, designed by J. Blanding Sloan and Charles

P. Larsen, who have also designed scenery for the Work-
shop Theatre in Chicago. In the main, however, the
Hull House Players- place more stress on the acting of
their plays than on stage decorations.
THE HULL HOUSE THEATRE 117
The work of the Players is so good, so sincere and
unstriving, that some one has aptly said it is like the
work of a genuine folk theatre. The fame of the Players

has spread far beyond the confines of their own theatre.
They often play engagements at colleges, at country
clubs, and give performances for various out of town
organizations, as well as special performances in other

theatres.
The money earned by the Players is partly put back

into the theatre to defray running expenses; and partly
used for deserving causes. The money earned by the
Players during 1912-1913, amounting to $3,600, was

spent by the Players on a European tour. The Players
London, the Shakespeare country, Paris, Holland,
visited
and spent six days in Ireland, where they gave a per-

formance at Dublin Castle under the patronage of Lord
and Lady Aberdeen.
Among the innovations of the Players was a four
nights' run of one-act plays by Chicago authors. These
plays included The Other Dan, by Oren Taft, Jr.; Case
No. by Mary Aldis; The Poem of David, by Ken-
34,
neth S.Goodman and Ben Hecht; Mr. and Mrs. P. Roe,
by Martin Johnson. The first three of these plays were
produced by the Hull House Players for the first time
on any stage. Rutherford and Son, by Githa Sowerby,
received its first production in Chicago by the Hull House
Players; The Walking Delegate, by Hilda Satt, and

Punishment, by Louise Burleigh and Edward Bierstadt,
also received their first production by the Hull HOUSQ
Players.
Mrs. Pelham considers that the greatest successes of
the Players have been made in Galsworthy's Justice,
Kenyon's Kindling, and Lady Gregory's Irish plays.

While the Hull House Players are the dominating
factors of the Hull House Theatre, they are not the only
players who tread its Like the Neighborhood

boards.
Playhouse in New York, the Hull House Theatre has

other activities going on beneath its roof. Italian, Rus-
sian, and Greek companies appear there from time to
time, giving plays in their own tongue. There is a Puppet

Theatre for children, run by the Marionette Club, which
gives fairy plays for children. There is also a Children's
or Young People's Theatre which gives performances
every Saturday afternoon. When the plays produced
are for young people, then such dramas as Josephine Pea-
body's The Piper,Housman and Barker's Prunella,

Shakespeare's Midsummer Night's Dream and Twelfth
Night are given. The Piper was extraordinarily well
staged, with costumes jocund in color and posteresque
scenery. A whole series of matinees for children have
been given on Saturday afternoons, with an admittance
fee of five cents. The children came in eager hordes,
proving they would rather spend their five cents on actual
drama than on the movies. Among the plays produced
at these matinees were adaptations of The Sleeping
Beauty, The Frog Prince, 'The Golden Goose, The Shoe-

maker and the Elves, The Bird with a Broken Wing,
made by residents of Hull House. Also produced at
these matinees were Where Love Is, by Leo Tolstoy;
The Christmas Guest, Nimble Wit and Fingerkin, an4
THE HULL HOUSE THEATRE 119
The Gooseherd and the Goblin, by Constance D'Arcy

Mackay.
It would take volumes to include all the plays given in
the Hull House Theatre. A partial list of the plays
given by the significant Hull House Players is here
appended, since the Players are the chief jewel in the
theatre's crown.
A Mountain Pink, by Morgan Bates and Elwyn Barren ;
Engaged, and Pygmalion and Galatea, by W. S. Gilbert;

Kerry, by Boucicault; School, by Robertson; The Sad
Shepherd, by Ben Jonson; Trelawney of the Wells, by
Pinero; You Never Can Tell, by Shaw; The Amazons, by
Pinero The Devil's Disciple, by Shaw Pillars of Society,
; ;
by Ibsen; The Palace of Truth, by Gilbert; The Liar, by

Foote; The Slave, by Towse; The School-mistress, by
Pinero; The Silver Box, by Galsworthy; Justice, by Gals-
worthy The Pigeon, by Galsworthy Kindling, by Kenyon
; ; ;
The Tragedy of Nan, by Masefield; Riders to the Sea, by

Synge ; and the following plays by Lady Gregory Spread- :
ing the News, Workhouse Ward, Rising of the Moon, Gra-

nia and Dervogillia. Also Mixed Marriage and Magnani-
mous Lover, by John Ervine Punishment, by Burleigh
St. ;
and Bierstadt Victims, by Edward Lowrey Great Cather-

; ;
ine, by Shaw; Old Letters, by Bronson Howard; The

Drone, by Rutherford Mayne; The Neighbors, by Zona
Gale The Leadin' Road to Donegal, by Seumas MacManus
; ;
How He Lied to Her Husband, by Bernard Shaw Marse ;
Covington, by George Ade Manacles, by H. K. Moderwell

; ;
By-Products, by Joseph Medill Patterson; The Importance

of Being Earnest, by Oscar Wilde ; The Man of Destiny, by
Shaw Rosalind, by J. M. Barrie ; Mr. Sampson, by Charles
;
Lee Rutherford and Son, by Githa Sowerby Hazel Kirke,

; ;
by Steele Mackaye.
CHAPTER VI

WEST
THE PLAYHOUSE OF LAKE FOREST, ILLINOIS
THE Playhouse of Lake Forest, 111., a constructive

Little Theatre, was established in the Summer of 1911
by Mr. and Mrs. Arthur Aldis. It is interesting not only

for the pioneer work it does but also because it repre-
sents a dwelling house turned into a theatre, a thing that
any town can copy any town, that is, that has initiative
and love of art.
Next door to the house in which Mrs. Aldis lives was
a small frame house set invitingly in the midst of lawn
and trees. The partitions and ceilings of this house were
pulled out; the lean-to kitchen made into a stage; dress-
ing-rooms were added, and behold, a theatre! It was

dubbed "The Playhouse." It seats 100 people. Its
interior decorations are in two tones of brown.

Here every Summer since 1911 a group of gifted ama-
teurs who make their home at Lake Forest, act in the
plays and design the scenery and costumes. Most of the
scenic work has been done by Raymond Johnson, Mrs.
Aldis, and Allen Phillbrick. Many of the plays are
121
122 OTHER LITTLE THEATRES OF THE WEST
written by the players themselves ;
still others translated,
or made for the occasion; while adaptations from
short stories in current magazines have been fairly
frequent.
There is no subscription system at the Playhouse. Nor
are seats to be obtained by the general public. Admis-
sion is by invitation only.
The Playhouse and Lake Forest Players are a fine
the
example of community work. They have had few frets

and jars such as beset the part of amateurs working with-
out a director. For there is no director at the Lake
Forest Playhouse. The final results are obtained through
letting the amateur actor get under the skin of his part,
and interpret it as he feels that it should be interpreted.
Two rules are posted in the green room: Keep Your
Temper and Return Your Manuscript.
As to the selection of plays, the Lake Forest Players
strive to give their audiences plays that they will not
be likely to see in any commercial playhouse. Since the
stage of the Playhouse is small, static plays plays in

which the action is mental rather than physical are
chosen in preference to any other. Plays with a plot
which necessitates a great deal of action are not in favor
" "
with the Lake Forest Players. Neither are punch
plays with their requisite emotional acting. It is the
belief ofMrs. Aldis, as it is with a growing number of
Little Theatre enthusiasts, that the static drama, the
drama of the soul, is the most intense of all. This, of

course, bound to remain a mooted question. Certainly
is
it makes things easier for the dramatist if he escapes the

PLAYHOUSE OF LAKE FOREST, ILLINOIS 123
scene a faire, which always the most difficult to write,

is
" "
and with a play dealing with soul the dramatist can
"
always escape from having plot." On this battle-ground
the intellectual wars of the Little Theatre will be waged
during the next decade.

The settings for the Playhouse are for the most part
realistic rather than suggestive. Along these lines some
excellent effects have been given, telling in their sim-
plicity. As example, the setting for Mrs. Aldis' play

Extreme Unction, designed by Mrs. Aldis, showed a bed
in a hospital ward. On three sides of the bed were
screenshung with antiseptic sheets. Against this white
background the characters of the play stood out as if
in sharp bas-relief as they made their exits or entrances.
The policy as to choice of plays has materially influ-
enced the acting of the Lake Forest Players. Unity,
simplicity, and naturalness are what they strive for. They
do not try to rival the professional stage in any way.
What they do strive to give and what they succeed in
giving is a straightforward, sincere rendering of the
parts intrusted to them. Several times the Lake Forest

Pfeyers have given performances at Little Theatres in
other cities, and always this unstriving quality in their
work has met with appreciation. Commenting on their
performance at the Toy Theatre in Boston, H. T. Parker
of the Boston Transcript had this to say and it explains
the best effects of any group of truly creative amateurs :
'
Time and again amateurs attain simplicty because
they do not suspect intricacy, and truth because they see

it and
embody it in their acting with no veils of habit.
method, or precedent. Given histrionic instinct, aptitude,
and observation, they act with ease, freedom, and variety,
and with full self -surrender to their parts. If the means
are not the professional means they do their office which
is to bring the personages to life in the terms of the
play. Acting for themselves in their own way, they are

not weighted with self-consciousness, tradition, or imita-
tive effort."
The policy of the Playhouse in producing new and

fresh material along the line of one-act plays instead of
repeating plays that have already been worn threadbare

in commercial theatres cannot be too heartily commended.
Plays that have thus been worn threadbare challenge the

memory of the audience with comparisons that can sel-
dom People remember
be to the credit of the amateur.
how Ethel Barrymore did this or that and compare her
work with the work of the amateur. It is a wise Little
Theatre that adheres to the principle of producing plays
not seen on the professional stage. In doing so its work
gains immeasurably in vigor and freshness.

Many of the plays produced by the Lake Forest Play-
ers are now obtainable in book and pamphlet form, Mrs.
Aldis' Plays for 'Small Stages being in wide use and
itself explanatory of the workings and beliefs of this
distinctive Little Theatre.
Some of the plays produced by the Lake Forest Players

have been Tradition, by George Middleton The Village, by
;
Octave Feuillet Pierrot of the Minute, by Arthur Dowson

; ;
The Four Plushers, by Cleaves Kinkead; In the Pasha's

Garden, by Frances Shaw; By-Products, by J. M. Patter-
PLAYHOUSE OF LAKE FOREST, ILLINOIS 125
son; The Other Voice, by Sydney W. Fairbanks; Mrs. Pat

and the Law, Extreme Unction, and Temperament, by
Mrs. Arthur Aldis; Sacred Ground, by Giacosa; Which
One?, by Paul Bourget; America Passes By, by Kenneth
Andrews.
THE PRAIRIE PLAYHOUSE
FROM
gin to Galsworthy, from soddenness to beauty,
from a saloon to a Little Theatre this is the record of
Galesburg, 111., a record forever unique in the construc-
tive annals of Little Theatres in the United States; a
record that makes Galesburg proud of itself, and other

people proud of Galesburg, and of the work done there
by J. A. Crafton, Abby Merchant, and Mark Reed, three

drama enthusiasts who made a dream come true against
odds.
" "
If genius be an ardor of the soul then it was noth-
ing less than genius to vitalize the idea of a Little The-
atre in a small, indifferent, somewhat somnolent Western
town, undaunted by lack of interest, lack of cash, and lack

of a suitable theatre building. But these theatre enthusi-
asts made up their minds that Galesburg needed and
should have such a theatre, and they let nothing stand in
the way of their determination. They did not expect to
make money out of the venture; but they did expect a
chance to try their hands at the things each one of them
wanted most to do. They expected nothing but a living
wage, and a small living wage at that. They were pos-
sessed even obsessed by the idea of what such a theatre
could mean to a community. It could bring all the finer
things of the big city to the little city whose population

126
Above, THE WHITE HOUSE SALOON, GALESBURG, ILL., as ;jt v
it was remodeled into
Below, THE PRAIRIE PLAYHOUSE as it is today.

THE PRAIRIE PLAYHOUSE 127
was about 25,000, and whose powers of appreciation lay

dormant, waiting the quickening touch that just such a
theatre would be able to give.
The only available building for this experiment that
could be afforded, in fact the only adequate vacant build-
ing to be found anywhere in Galesburg, was a notorious

structure bearing the paradoxical title of the White
House Saloon. White House may have been called;
it
but black with evil was its reputation. It had been a gin
place of the lowest type, a place where two murders had

been committed, and where gambling and licentiousness
had been rampant, a place morally so plague-ridden that
the idea of any rehabilitation seemed inhibited. Yet it
isproof of the tremendous power of drama that such a
building could be made into one of the most lovely Little
Theatres to be found anywhere in the Middle West. Of
all miracles wrought by Little Theatre workers this
seemed one of the most wonderful, for it represents

order coming out of disorder upon destruction the fine
:
flower of construction growing and thriving.

Until the coming of the Little Theatre Galesburg was
a town that seldom if ever had even so much as a
"one
first class night's stand." Now the very best of
modern drama flourishes in its midst, made possible
through intelligent leadership and the awakened public
spiritedness of the community.
Mr. Crafton is a young college man, a graduate of
Knox, which is in Galesburg. After graduation he acted
and taught; then took a special course in the drama at
Harvard, where he imbued two fellow students with the
possibilities of a Little Theatre in Galesburg. He went
to Galesburg, selected the only site within reach of the
trio's slender resources and the work began.
There was everything to do, including the renovation
of the building, its painting, inside and out, and the in-
stallation of its heating, lighting, and stage equipment.
The Three Musketeers of Drama faced these difficulties

with a combined capital of $1,050, which sum had to
last an entire season and finance the plays as well as give
the theatre its start.
The downstairs part of the saloon was made into a
charming theatre auditorium seating 120 people. It had

white woodwork, brown walls, seats the color of the wall,
carpet and curtains of dark green. The upstairs gam-

bling hall was made into dressing rooms and business
offices.Completed, this theatre was the
place which, in
"
the words of Miss Merchant, must support itself and
us/' It was further decided to ask seventy-five cents for
seats; to give four performances of a new bill every two

weeks, and to call the organization The Prairie Players.
Besides managing the theatre, the Three Musketeers
had to train the community actors, and from them evolve
the Prairie Players. Miss Merchant was stage director;
Mr. Reed art and business director Mr. Craf ton leading
;
man. Between the three of them they managed every

bit of work which went forward in the theatre. There
was no subscription list. That is, no one was asked to
subscribe for tickets. The best that could be given was

set before the public, and the public instantly responded.
They not only flocked to the theatre but they lent the
theatre management anything they happened to need in
the way of rugs, furniture, portieres, and general proper-

ties. It can safely be said of the Prairie Playhouse that
ithas accomplished more for less money than any Little
Theatre in the United States.

With only the scantest sums to draw upon, the scen-
ery was remarkably atmospheric and remarkably differ-
entiated. Its very simplicity was an asset. For the first
act of Galsworthy's The Pigeon the walls were a neutral
gray. There was a wide window at back opening on a

night sky faintly powdered with stars. The furniture
in the room was neutral tinted. A fire glowed redly on
the hearth. There was a three-legged red stool near by.
"
And when Ann entered and flung off her bright red
"
cape," writes Miss Merchant, the whole room started
into unity and life. It was a singularly satisfying set,
and cost us $3.25." In another set a room with green-

gray walls looked toward an expanse of sea, where, as
twilight came on, the intermittent flash of a lighthouse
lamp could be Lord Dunsany's Glittering Gate was

seen.
staged with a cyclorama effect and the new lighting the

first time Galesburg had ever seen either of these two
scenic innovations.
How well the acting went, and how well the whole
theatre went, is attested by the fact that at the end of
its first Drama League Center of Galesburg
season the
bought out the plant for $1,000, raising this money

through selling theatre bonds in denominations of $10
each, with interest at 6 per cent., payable semi-annually.
Miss Merchant and Mr. Reed went East to undertake
I 3o OTHER LITTLE THEATRES OF THE WEST
other dramatic work, and Mr. Crafton remained as
director of the Prairie Players. So the Prairie Playhouse
js now owned by the community, and operated by the
community.
From the first the policy of the Prairie Playhouse was
to produce the best plays, one-act or four-act, by Euro-
pean and American authors. Since the theatre started

it has given first productions of five plays by American
authors. Besides this the Prairie Playhouse wishes to
foster local playwrighting, to give Illinois playwrights a
significant opportunity for a hearing. Of course Illinois

is not the only state that will be considered, since the
Prairie Playhouse is always glad to consider new manu-
scripts by American authors but for a one-act play
; deal-
ing with life in the Upper Mississippi Valley the Play-

house offers a prize as follows :
"
The best one-act play . . . the Prairie Playhouse
will produce carefully and artistically; will pay the author
ten dollars per night for every night of production (three
nights guaranteed) ; will reserve no rights over the play

after production, and will use its influence to get the
play before a larger public. ... Is there not in your

experience some situation, some event, some family,
which is typical of this section of the country (the Upper
Mississippi Valley) and which interests you to the extent
of your telling the story in dramatic form?"
The desire to picture the life of Illinois truly and
dramatically has always been with the Prairie Players
since the foundation of the Playhouse. Their opening
"
prospectus said : The Prairie Playhouse hopes to be-
come recognized as a Galesburg institution. In certain

cities of Great Britain noteworthy results in dramatic
"
art have been achieved under the influence of the little
theatres." Companies of actors, drawn from the towns-

people, have been sent to neighboring cities and to Amer-
ica, and plays dealing with local life, written for these
theatres, are now widely identified with the names of the

cities in which they were first produced, and the result
has been that these cities have made reputations as cen-
ters of art as well as of industry.
"
In somewhat the same way the Prairie Playhouse
hopes to create in and about Galesburg an interest in the

work of the theatre strong enough to assemble a group
of players and to stimulate the dramatization of the life
of this section. There is a rich vein of dramatic ma-
terial, as yet untouched in the life of the Upper Missis-
sippi Valley. We have had dramas of the Golden West
and of the Great Divide; of the New England Home-
stead; of the Southern Plantation; but no one has
attempted plays dealing with the life of the great corn
and harvest fields, the coal mines, or the quaint settle-
ments along the river banks of the Middle West. The
Prairie Playhouse sees in such variety of occupation and
*
environment the possibility of a group of Galesburg
Plays/
"
Consequently, although the Playhouse will be glad to
receive all original plays with the hope of producing them,
it is
particularly desirous of plays dealing with the life
of this section, and promises every help that it can give
in preparing them for production. It extends an invita-
tion, also, to every one finding entertainment from the
' '
stage to co-operate at the little theatre as actors or
audience, or as helpers in the work of production. For

the theatre in its
necessity of representing every kind of
life has a use for every kind of ability."
During its second season the Prairie Playhouse began

to co-operate even more extensively with the citizens of
Galesburg. At Christmas time Mr. Crafton in connec-
tion with the Drama League and the Woman's Club pro-
duced a Christmas fantasy which was given free to the
children of the town.
As the fame of the Prairie Playhouse spreads dele-
gations from surrounding towns buy out the theatre on

certain nights. There is no doubt of either its finan-
cial or artistic success.
Among the plays produced by the Prairie Playhouse

have been the following:
1915-1916
At by Winifred Hawkbridge; The Glittering
Slovsky's,
Gate, by Lord Dunsany Sea Pride, by J. A. Crafton, Abby
;
Merchant and Mark Reed (first production) The Chimes, ;
by Elizabeth McFadden; Her Husband's Wife, by A. E.

Thomas; Dad, by Maxwell Parry; Pierrot of the Minute,
by Ernest Dowson The Edge of the World, by Albert Hat-
;
ton Gilmer; The Pigeon, by John Galsworthy; The Bank

Account, by Howard Brock; Death A Discussion, by H.
Woodruff; One Word Play; Eugenically Speaking, by Ed-
ward Goodman.
1916-1917
by Winifred Hawkbridge; The Rose, by
'At Slovsky's,
Mary Macmillan; The Terrible Meek, by Charles R. Ken-

nedy; Candida, by G. B. Shaw; The Stranger Star, by

J. A. Crafton (first production)
;
The Dear Departed, by
Stanley Houghton; The Noble Lord, by Percival Wilde;
The Poet Writes a Song, by Howard Stedman (first pro-
duction) The Bear, by Anton Tchekoff; The Great Divide,
;
by William Vaughn Moody; The March of Truth, by

Katherine Searle (first production) America Passes By,
;
by Kenneth Andrews The Lower Road, by Charles Mather

;
(first production).
THE LITTLE PLAYHOUSE OF ST. LOUIS
THE Little Playhouse of St. Louis is significant as a

theatre of high aims in which the company is strictly
"
professional." All of the Little Playhouse Players have
had professional experience, in such companies as those
of Sothern and Marlowe, Faversham and Ben Greet.
" "
Several of the Players are Little Theatre Graduates
if one may coin the term they have served their
: that is,
apprenticeship in the best Little Theatre companies, such

as the Portmanteau Company, the Little Theatre of Chi-
cago, and the Little Theatre in Philadelphia. Thus they

bring to the St. Louis Playhouse technical equipment and
a real knowledge of the workings of the intimate stage.
When it became known that there was to be a Little
Theatre in St. Louis, a Little Theatre with a professional
company, applications to join its working force poured in

in such numbers that it showed clearly how eager the
professional is for a chance to develop his powers rather

than his pocketbook if he can only secure that chance.
It showed that love of acting as an art burns just as
strongly today as ever did, and that the people of the

it
theatre are eager to serve the theatre uncommercially if
only given the opportunity. It was known that the Little

Playhouse of Louis could not pay large salaries. But
St.
this did not deter a host of actors and actresses from

THE LITTLE PLAYHOUSE OF ST. LOUIS 135
wanting to join company. Four hundred applied.

its
From these ten were chosen by Melville Burke, the

director of the Playhouse.
The Little Playhouse was founded by the St. Louis
Society for the Promotion of Drama. That it has

thriven in spite of the handicap of this name is partial
proof of its vitality. American audiences are afraid of

"
societies that promote," and in especial wary of socie-
ties promote drama
that The St. Louis Society for the
!
Promotion of Drama has a board of directors, a con-

tingent fund made possible by public-spirited citizens, and
a list of patrons. The Little Playhouse is sustained as
a symphony orchestra is sustained, partly by small en- i
dowments, partly by subscription.

The history of the beginnings and accomplishments
of the Playhouse are so graphically given in its pros-
pectus that one cannot do better than quote in entirety

the official declaration of its aims.
"
Thus it is that the St. Louis Society for the Promo-
tion of Drama became, by virtue of a pro forma decree
of court, a public educational institution, authorized, with
no expectation of profit-making, to encourage and sup-
port the welfare of the drama and its allied arts in what-
ever way it deems best. The Little Playhouse company
is the first concrete expression of the desire of the society
to give St. Louis a theatre, untainted
by the vulgarity of
the ordinary commercial stage, freed from the necessity
of making money except for expenses of production, and
consecrated to an ideal that demands the utmost in dra-
matic art. No salaries of any nature are paid to those
persons in the directing personnel. Only the regularly
engaged employees, actors, stage-hands, etc., receive a
salary. Theactuating desire of those responsible for

the enterprise has been, from the beginning, based en-
tirely upon the wish community of

to give the St. Louis
drama in much the same terms under which it enjoys
music through the efforts of the Symphony Society. The
of each season revert to the treasury for
profits, if any,
the continuance of those purposes for which the society
has been organized and incorporated. The financial sys-
tem is modern, with detailed accounting, voucher-check
payments, and regular auditing of the books. To support
the society either by subscription or by a contribution to
the contingent fund is to be sure that whatsoever
given is
is devoted entirely to the cause of the drama in terms

of the greatest practical and artistic service. Make St.
' '
Louis even more the community art center of America
by supporting the Little Playhouse Company; it is but
contributing share to the same end that gave the city

its
its excellent symphony orchestra, and the superb pageant
in 1915."
The Playhouse itself is in a building called The Artists'

Guild. The color scheme of the interior is gray and
green. The proscenium arch has an opening of eighteen
feet. There is a curving, low-swung balcony; but no
boxes. The stage is equipped with a modern lighting
system. As the Playhouse is run entirely on a subscrip-
tion system no individual tickets can be purchased by
the general public. But occasional guest tickets can be
purchased by subscribers. The price of seats is $1.50

THE LITTLE PLAYHOUSE OF ST. LOUIS 137
a performance. Performances are given on two con-

secutive nights every two weeks.
The policy governing play production is distinctly a
creative one. Long plays and short plays are given in
about equal numbers. All have literary merit. ManyV
first performances of significant plays have 'been given,'
as well as plays that are unusual even on Little Theatre

rosters.
Some plays are chosen for their significant place in the

history of drama; others are frankly selected because
they give opportunities to portray the new decorative
type of stage-craft. other plays have been selected
Still
j
'
because they are by St. Louis authors and have genuine

merit. The whole season's program of the St. Louis
Little Playhouse has extraordinary variety and merit.
The Little Playhouse gave the first production of Gals-
worthy's Joy and of Lady Gregory's
in this country,
The Golden Apple, with imaginative scenery by Mar-

garet and Kurt Toensfeldt; also a first production of
"
An Eye An
Eye, by I. L. Cariagiale, the
for father of
modern Roumanian drama." For the first time in this
country the Playhouse gave the following one-act plays :
Don Pietro Caruso, by Robert Bracco; Arduin, by Cale

Young Rice; Reflections, by Margaret Ewing. Prose
*
drama and poetic drama have been produced. Plays by
American, English, Irish, Swedish, Roumanian, Italian,
German, and Norwegian authors have been set before
Playhouse audiences. Altogether St. Louis can pride
herself on having one of the most progressive of Little
Theatres with good acting ensemble, and with excel-
lent scenic effects, designed for the theatre by Victor
Harles.
Another original feature of the LittlePlayhouse policy
lies in the interesting annotations on their programs.
Just as the Boston Symphony Orchestra has historical
and critical notes on its symphonies, so also does the

Little Playhouse of St. Louis have explanatory notes
concerning its plays, and the movements they stand for.
This is a valuable innovation.

If there is any fault to be found with the Little Play-
house it is that it has a habit (common to many Little
Theatres) of announcing a play for production, and then

withdrawing it, and substituting something else in its
place. This irritating habit was one of the causes of
the demise of the Toy Theatre in Boston. And it is to
be hoped that an institution as promising as the Little
Playhouse will overcome this fault before it reaches a

chronic stage. There is no sound reason why a Little
Theatre cannot announce its plays for the season in ad-

vance (just as a symphony orchestra announces its sym-
phonies), and then carry out its promised program.
Besides regular performances the Little Playhouse
its
instituted a series of children's Saturday morning mati-
nees, giving four performances for five dollars. The aim

of these performances was to inculcate a love of litera-
ture through the spoken word, and a love of beauty
through the color and simplicity of the scenes presented.

These performances were well attended.
THE LITTLE THEATRE OF DULUTH
THE Little Theatre of Duluth, Minn., is notable as

the first Little Theatre established through the efforts of
the Drama League. It is also notable for having an able
company made up of amateurs and professionals; five

professionals and some or twenty experienced
fifteen
amateurs. E. W.
Laceby, of London, England, an actor
of wide professional experience, is dramatic director and
general manager.
The theatre was established in 1.914. It is housed in
what was once an old church ; but it has been remodeled

and redecorated to fit theatre conditions.
Duluth, a city of one hundred thousand, is out of the
general theatrical route, and first-class productions

are few and far between. A second-rate company in
some Broadway success was the most that its citizens
could hope for, with now and again a first-rate company -
which played a one-night stand. Of the new theatre art,

and the trend of modern theatre literature, Duluth could
gain no first-hand impression. All its citizens could
do in this respect was to read plays, or read about plays.
Under these conditions interest in the drama was not
thriving. Then came the idea of having a Little The-
atre, and through its work stimulating an interest in all
the finer and newer things of theatre growth.
Therefore the Little Theatre was organized. It has
139
140 OTHER LITTLE THEATRES OF THE WES1
sixty supporting members, who pay five dollarsa year
And membership dues of the Drama League at one dollai
and fifty cents a year entitle the Drama League member
to seats at the productions of one-act plays which an
given every month for the Little Theatre season of sevei
months. Thus it will be seen that the prices for thi
Little Theatre are exceedingly low. The drama has beei
put within reach of the very slenderest purses. Cues
tickets can be purchased by Drama League members fo:
fifty cents each for any performance. The five dollar

of a supporting member entitles that member to a sea
at all performances.
A casual observer might suppose that such rates woul<
work havoc with the financial end of the theatre; but
far from being the case, the Little Theatre of Dulutl
has thriven from the start because it has set art before tfa
people at prices comparable to the movies. The Littl<

Theatre of Duluth is one of the most financially sue
cessful Little Theatres in the United States. And it i:
artistically successful also.

After only three years it owns its own theatre building
and this without any endowment or contingent fund t<
smooth the way. It has hoed its own row, and insteac
of asking favors of its townsfolk has bestowed favor!

upon them, a truly independent spirit!
The theatre seats 250 people. Its interior color schema
is gray, with old-blue hangings. It is one of the fevi
Little Theatres in the United States which makes use oi
the draped stage. This it uses in preference to realistic
scenery. The stage draperies of veiled blue, which cat

THE LITTLE THEATRE OF DULUTH 141
be painted with different colored lights, form a neutral

background, and were chosen under the expert advice of
Mrs. John Alexander. For plays such as Milestones
realistic scenery is used, specially designed for the
occasion.
1
The policy of the Duluth Little Theatre is thus de-

scribed by one of its players: "We have concentrated
our time and attention wholly on play-producing, and on
' '
keeping the standard of acting far ahead of amateur

work of the usual irritating kind." The theatre announce-
ment says that the players are selected from the Drama
League members and that it is their endeavor rigidly to
maintain, through competent direction of every play, the
highest possible artistic standard.
The Theatre produces mainly one-act plays by
Little
European dramatists, with an occasional one-act play by

an American dramatist, giving two, three, or four one-
act plays on a program, according to the length of the
play.
In addition to the one-act plays a three-act or four-act
play is given each season.

The Theatre offers yearly a fifty-dollar prize and
Little
production for the best one-act play written by a local
dramatist, and some very encouraging material is coming

to light along these lines. The
Theatre has already
Little '
produced two of these prize plays, Her Sacred Duty, by

Margaret C. Banning, and What It Gets Down To, by
Mildred B. Washburn.
In a word, the Little Theatre of Duluth tries to be
(and is) the intellectual whetstone of the community.
Both Granville Barker and Lady Gregory have mani-
fested their keen interest in its progressive spirit and
definite artisticaccomplishment.
The repertory of the Little Theatre is as follows:
1914-1915
The Dark Lady of the Sonnets and How He Lied to
Her Husband, by George Bernard Shaw; The Twelve-
Pound Look and The Will, by J. M. Barrie; 'Op-o'-Me-
Thumb, by Fenn and Price; The Workhouse Ward, by
Lady Gregory; The Dear Departed, by Stanley Houghton.
1915-1916
Two Amateur Contest Plays Her Sacred Duty, by Mar-
:
garet Culkin Banning, and What It Gets Down To, by

Mildred Baer Washburn; The Lost Silk Hat, by Lord
Dunsany; The Impertinence of the Creature, by Cosmo-
Gordon Lennox; The Maker of Dreams, by Oliphant
Down; Holly and Mistletoe, by Max Pemberton (the
junior league play), and Her Husband's Wife, by A. E.
Thomas.
1916-1917
The Far-Away Princess and The Last Visit, by Herman
Sudermann; Helena's Husband, by Phillip Moeller; The
Glittering Gate, by Lord Dunsany The Green Coat, by Al-
;
fred de Musset and Emile Augier; The Carrier Pigeon,

by Eden Phillpotts The Master of the House, by Stanley
;
Houghton; The Philosopher of the Apple Orchard, by

Anthony Hope; Lone some-Like, by Harold Brighouse;
Milestones, by Arnold Bennett and Edward Knoblauch;
Fancy Free, by Stanley Houghton The Beau of Bath, by
;
Constance D'Arcy Mackay The Monkey's Paw, by W. W.

;
Jacobs Spreading the News, by Lady Gregory Paternoster,

;
;
by Frangois Coppee; Moondown, by John Reed.

THE WISCONSIN DRAMATIC SOCIETY
THE Wisconsin Dramatic Society, sometimes called the

Wisconsin Players, organized in 1911, is a company of
"
gifted amateurs, who are imbued with the vital prin-
"
ciple of Little Theatreism." They believe in conducting
skilled amateur companies for the production of high-
class plays at low prices." They wish to create a demand
for a better theatre and a more enlightened audience.
Also they wish to give the native playwright a hearing;
and to further repertoire.
There is something stimulating in the very name of
this society. Many Little Theatre groups take the name
of the town or city as their patronym; but the name of
Wisconsin Dramatic Society suggests a whole state in
action; a whole stateworking for the good of the cause.
Acting and producing is only a part of the specific
purpose of the society, which is as follows:
"
First, to raise the standard of dramatic appreciation
in the community.
"
Second, to encourage the support of the best plays.
"
Third, to encourage the reading of good plays in
English, and in translations from other languages.
"
Fourth, to encourage the translation, composition,
and publication of good plays.
"
Fifth, to conduct companies for the production of
high-class plays at low prices."

143
This last part of the work naturally is of the greatest
interest to students of the Little Theatre movement.
The society has given productions in Madison, Beloit, and
Milwaukee, and as it has no theatre plant, rents local
theatres for -the occasion. They use only the very sim-
plest scenery. Indeed, they attempt no scenic experimen-

tation whatever, preferring to center their energies on the
acceptable acting of the plays. Along these lines all their
experiments are made. They work for eloquent panto-
mime, clear enunciation, and for tempo in ensemble play-

ing. To
turn out semi-professional groups equipped to
give plays the public would not ordinarily see is the aim
of the play-producing department of the society. Any-
thing that smacks of theatricalism in acting will not be

tolerated by either Professor Dickinson, who directs the
Madison group, or Mrs. Sherry, who directs the Mil-
waukee group. As far back as 1911 these workers for

the drama decided that no play under their direction
would countenance the old system of spotlights or a
built-up entrance. The Wisconsin Dramatic Society
eliminates the orchestra; will not raise the curtain in
answer to curtain calls. They do everything in their-
power to foster illusion in acting. They may, in time,
go as far as the Art Theatre of Moscow, which elimi-
nates applause as breaking in upon the mood of the play.
Many people erroneously believe that the Wisconsin

Players are connected with the University of Wisconsin.
But as an article in the Drama Quarterly, by W. E.
"
Leonard, points out, the Wisconsin Dramatic Society is
not an academic organization. It has no official relation
THE WISCONSIN DRAMATIC SOCIETY 145
to any institution of learning either in Madison or Mil-

waukee, though it numbers among its most active mem-
bers many university professors. . . . The society
stands for no special art form. It believes in the ama-
teur spirit."
If all this sounds like idealism, it might be pointed out
that the society has achieved some very definite results.
It produced three plays during the first year of its exist-
ence at a flat rate of fifteen cents per seat, and was able to
put something in the treasury for the
following year.
Of course this rate would not have been possible had
the society experimented with scenery and costumes as
do most Theatre groups. The second year eight
Little
plays were produced. Owing to various circumstances

a higher price of 'admittance was asked for these plays,
namely, fifty cents, and always will be, part of
but it is
the policy of the Wisconsin Dramatic Society to give
plays at cost. Anything that is made from the produc-

tions is put back into the society's fund, and goes to
further theif plans.
Besides the plays of American origin, developed out
of the work of the Wisconsin group, now published in a
volume calledWisconsin Plays, which includes Neighbors,
by Zona Gale, and Glory of the Morning, by William
Elory Leonard, the society has produced many of the
best one-act plays by European dramatists, such as The
Hour Glass, by Yeats Riders to the Sea, by Synge, ah<
;
The Stronger, by August Strindberg.

The Wisconsin Stage Society has lately built a charm-
ing playhouse in Milwaukee, Wis., where it will give a
series of plays every month under the direction of Mrs.
Laura Sherry.
Plays produced by the Wisconsin Players since 1915:
Neighbors, by Zona Gale; Glory of the Morning, by

William E. Leonard; In Hospital, by T. H. Dickinson; Ry-
land, by Thomas W. Steven Dust of the Road, by Ken-
;
neth S. Goodman; Tradition, by George Middleton; As

You Do It, byI. B. Kinne; City Hall Central, by Louise
Brand; Las Rurales, by Dorothea Massey; The Archae-
ologist and the Lady, by Mabel Mayhew The Talker, by
;
Rowland Russel; The Valley, by R. S. Crowell; A Branch

Road, by Hamlin Garland; The Feast of the Holy Inno-
cents and In a Vestibule, by Marshal Ilsley; On the Pier,
Romance, Ambition, and Just Livin', by Laura Sherry; A
Moving Picture Burlesque, by Mathew Carmel; A Blind
Wife and Rich Poor Man, by Walter Morley The Topaz
;
Âmulet, by Thomas W. Stevens and Wallace Rice; The

Light of Decency, by Charles Mercein The Man Who Mar-
;
ried the Moon, by Charlotte Markham; Bubbles, by Anna

Hemstead Branch; Dead Soul, by Austin Simons; Orange
Blossom, by Phillips Chynoweth; and The Finger of God,
by Percival Wilde.
CHAPTER VII

WEST (Continued)
THE ARTS AND CRAFTS THEATRE OF DETROIT
THE Arts and Crafts Theatre of Detroit was founded

in November, 1916. The theatre itself is in the Arts and
Crafts building, and the idea of the theatre has grown
out of the work done by the Arts and Crafts Society,
"
which aims at the training of true craftsmen, the devel-
oping of individual character in connection with artistic
work, and the raising of standards of beauty." The
building and the theatre within it are owned by the Arts
and Crafts Society, and the theatre is entirely financed
by the society.
It is such a building as should appropriately
just
house an art theatre with its quaint stucco exterior and
its dormered and gabled roof of tiles. The theatre opens
off a paved court that is lined on each side with little
Arts and Crafts shops, filled with pottery, dyed fabrics

rich in hue, hand-wrought jewelry, and hammered metals.
The Arts and Crafts Theatre is the only Little Theatre
in the United States that is run in connection with an

art guild. Sam Hume is the regisseur of the theatre.
The theatre itself has a very satisfying interior. The
147
floor of the auditorium consists of a series of raised plat-
forms on which chairs are placed. There is a balcony on

three sides of the theatre auditorium. The theatre chairs
are upholstered in vari-colored satins; the proscenium
arch is square; the proscenium curtain falls in dignified
and sweeping folds. The theatre seats 250.
The theatre company is entirely amateur. Mr. Hume
believes in a very strict standard of acting. Two hun-
dred and fifty actors were tried out before the final selec-
tion was made. Out of these 150 were chosen to appear
as principals or in minor parts.
The Arts and Crafts Theatre is run on the subscrip-
tion system.The seats are $1.00 and $2.00 for public
performances. Friday is subscribers' night, and on Sat-
urday afternoons there are matinees for teachers and
pupils at reduced rates. Six performances were given
during the season of 1916-1917, including the dedicatory
performance. Nineteen one-act plays were given by this
theatre in its first season. For 1917-1918 six produc-
tions will also be given. Subscription tickets will be

$12.00 for each season ticket; students' and teachers'
tickets will be obtainable for $5.00. As supplementary
productions the theatre committee is considering a chil-
dren's bill to be presented in the holiday season.
The first season of the Arts and Crafts Theatre was
a success financially and artistically. There were no
debts, and a small balance was carried over for the fol-
lowing year.
The policy of the Arts and Crafts Theatre has been
to produce revivals of old plays of literary significance
ARTS AND CRAFTS THEATRE OF DETROIT 149
such as Moliere's Doctor in Spite of Himself and the

ancient English miracle play of Abraham and Isaac, as
well as by modern authors, such as Dunsany,
plays
St. John Hankin, and Harold Brighouse.
In the season of 1916-1917 more plays by European
authors were given than plays by American authors.
In fact, only eight of the nineteen plays produced were
by Americans. One native play, Sham, a farce by Frank j

Tompkins, had its first production. For the rest, the/
plays were all plays that had been previously produced
and were more or less familiar to Little Theatre audi-
ences throughout the country.
Next year the Arts and Crafts Theatre hopes to give
more new material. It has offered a prize of $100 for
a play written by a resident of Michigan and suited for

production on the Arts and Crafts stage. Fifty manu-
scripts have been received in this competition. Besides
this play the theatre hopes to produce at least six new
plays by American authors, giving them their first hear-
ing on any stage. These plays have not yet been an-
nounced; but among the plays which have been tenta-
tively chosen for production in 1917-1918 are: Ariane
and Barbe Bleu, by Maurice Maeterlinck Riders to the ;
Sea, By J. M. Synge; The People, by Susan Glaspell;

Arms and the Man, by Bernard Shaw The Theatre of ;
the Soul, by Nicholas Evreinof; The Homecoming, by

Kenneth Sawyer Goodman, and Weeping Pierrot and
Laughing Pierrot, by Edmond Rostand, with music by
Jean Hubert.
The scenic work of this theatre is extremely inter-
esting. Mr. Hume, the director, is favorably known as
the originator of the Stage Exhibit which was seen sev-
eral years ago in most of the large cities of the United
States. He is also known for the excellent scenic effects
he devised for the Workshop Theatre, Cambridge, many
of which have been repeated during the season in Detroit.
1
Like Gordon Craig, Mr. Hume is a firm believer in the
type of scenery that is made possible through the use of

squares, cubes, and cylinders used against a flat back-
ground, and flooded with white or colored lime-
lights. The Arts and Crafts Theatre has a back wall of
plaster something similar to the plaster horizont of the

Neighborhood Playhouse. Against this background these
portable blocks or pylons are arranged to give the effect
of palaces or walls or stately gardens. Clipped yew trees,
flowers, or the sweep of a splendid curtain may lend a
"
note of color and warmth to these cube screens." These
cubes and pillars are most effectively used in Mr. Hume's
setting for Helena's Husband and for a harlequin fan-

tasy. The use of these portable cubes is very popular
abroad but the Arts and Crafts Theatre is the first Little
Theatre to make continual rather than a sporadic use of

them in this country.
When one considers the dignity and beauty, the sug-

gestive stylization made possible through their use it
seems a pity that other Little Theatres do not experi-

ment in this line, since the cubes and pilasters are in-
expensive and can be used again and again, though it
1
For a full description of how Gordon Craig came to originate
this type of scenery see Huntly Carter's The Theatre of Max
Reinhardt, page 300,
ARTS AND CRAFTS THEATRE OF DETROIT 151
takes the artist's eye and the feeling for architecture to
gain such sure effects as those of

Mr. Hume. These
cubes and pillars must be all in one color. Gordon Craig
uses them in pale gray; Granville Barker in white, re-
lieved by some bit of color, either a sumptuous throne

chair or gorgeous curtains. goes without saying that
It
modern dress cannot be used with such a setting, which

lends itself only to costume work.
Although these cylinders and cubes can be moved to

make many combinations, there is one thing against their
continual use as scenery, and that is that they are apt
to be monotonous. Mr. Hume very wisely varies this
ascetic scenery with scenery of posteresque quality. There
is distinction he does, whether in the brilliant
in all
Chinese interior for Housman's Chinese Lantern, or the

decoration for The Lost Silk Hat. Katherine McEwen
designed a charming set for St. John Hankin's Constant
Lover, delicately vernal, with its posy bestrewn hillock,
and curving weeping willow tree.
Of this Arts and Crafts Theatre Sheldon Cheney has
"
said : In this achievement of providing settings far
finer than those usually seen on the commercial stage,
and at a cost below that of even the least elaborate of the
usual Little Theatre sets, Mr. Hume has done something
that should inspire every real artist with hope and new
determination."
Some of the plays produced during 1916-1917 have
been:
The
Glittering Gate (see illustration, page 174), and Tents
of the Arabs, by Lord Dunsany; A
Chinese Lantern, by
Housman; The Romance of the Rose, by Sam Hume;
Trifles,and Suppressed Desires, by Susan Glaspell; The
Constant Lover, by St. John Hankin; Doctor in Spite of
Himself, by Moliere; Abraham and Isaac; The Revesby
Sword Play; Lonesomelike, by Harold Brighouse Helena's
;
Husband, by Philip Moeller; The Intruder, by Maeter-

linck.
THE PLAYHOUSE OF CLEVELAND
FROM the work mapped out on its prospectus it appears

that the Playhouse of Cleveland will strike a new note
in its Little Theatre, for which a small old-fashioned
church on Cedar Avenue is being remodeled. Work will
begin there in the Autumn of 1917. Besides the plays
which will be given thereby the Playhouse company,
selected from the most gifted amateurs of the city, the
Playhouse will also open doors to the divergent nation-
its
alities of its city for rehearsal and performances of plays
in their own tongue, with settings that will give a chance
for broad development in folk art, and that will help to

conserve folk traditions.
No Little Theatre group has laid its plans with greater
vision than the Playhouse group, whose eloquent little
folder, adorned with a picture of their future theatre,

sets forth their plans as follows:
"
A group of men and women in Cleveland formed
the Playhouse company in 1916 for the purpose of
establishing an art theatre of encouraging native art in

;
all its forms and native artists; and for cultivating the
rich legacies in folk art possessed by our cosmopolitan
population. This group consists of
artists, of musicians,
of those whose interests are sociological, of those who
have a leaning toward the lighting and mechanics of the
153
'
stage, toward acting, toward writing, and toward con-

structive activities for children.
"
The new theatre will be an art theatre aiming to pre-
sent on its stage productions in the modern spirit both
as to acting and decorations. During the past year the
Playhouse has presented to its members eight plays, of

which one was by marionettes and one was in shadow-
graph. These performances have been private because
the Playhouse in its temporary quarters did not have an
auditorium adequate for the public. Exhibitions, also,

have been held by the painters, sculptors, designers,
dancers, and musicians of the group.
"
Although the Playhouse will sympatheically endeavor
to encourage the self-expression of members, it recog-
its
nizes that Cleveland is

cosmopolitan, and that it contains
a wealth of divergent national art and traditions. . . .
To this end the theatre will offer itself to the groups

of varied nationalities in the city, as a place for meet-
ing, for exhibition of art and craftsmanship, for re-

hearsal and performance of plays and music.
"
During the year a cosmopolitan committee has ac-
quainted itself with cosmopolitan groups with the view
of bringing their exhibitions, concerts, and plays to the
Playhouse as soon as there is a proper stage. . . .
When completed there will be a stage of ample dimen-

sion, an auditorium which will seat 150 persons, and
such other accommodations as are needed. %
"
apparent that such a theatre will not be self-
It is
supporting. The expense will be met in part by dues

to be paid by the active members. To those who are not
THE PLAYHOUSE OF CLEVELAND 155
of the active group an opportunity is given to join in

this work by becoming supporting members, upon a
minimum payment of $25.00 per year.
"
Although supporting members as such shall not hold
stock or have votes in the corporation, and although they
shall not, by their right, participate in the activities of the
theatre, neverthless it is the policy to grant to supporting
members such privileges as shall not interfere with the
work of the theatre or with such other work as may be
undertaken.
"
The supporting members therefore shall be on an
equality with the active members in privileges of attend-
ance at all public entertainments and exhibitions, includ-
ing an equality of privilege in the purchase of tickets.
It is likely that on occasion it will be desirable to hold
dress rehearsals to which the supporting members will

'
be invited, to become a kind of First Night/
"
Also if it is found that a club life can be developed
without interference with the organization's primary
functions as a theatre and workshop, such club life shall
be within the privileges of the supporting members. At
this time it is hard to state just the form of club life
to be developed. There may be periodic club nights when
the Playhouse with its clubroom, theatre, and library will
be opened to the use of supporting members."
Raymond O'Neil is the art director of the theatre.

THE LITTLE THEATRE OF LOS ANGELES
WHILE the Little Theatre of Los Angeles no longe

exists by the name of the Little Theatre, the work don
there in 1916-1917 by Aline Barnsdall and her group o
players will be carried on either in Los Angeles or Sar
Francisco in 1917-1918. So the Little Theatre prodtic
tions of 1916-1917 have a definite bearing on the new
.
Theatre company which is to be called the Players
Little
j
Producing Company. This theatre is to be distinctly ar
v
'art theatre, with a professional company. The plays wr
;'
be produced in this home theatre, and then, later, taker
on the road and presented in the smaller cities of Cali
fornia. When a play that is distinctly Californian in
theme and investiture has been developed, it will
prob
ably be sent to several Eastern cities as an example o
what the Players Producing Company is doing. Th
Little Art Theatre, however, will remain the producing
center.
This is its genuinely interesting definite policy, laic
down for 1917-1918 a far more definite policy than
that which governed the season of Los Angeles 1916

1917, when a group of totally unrelated plays was given
beginning with Ossip Dymow's neurotic Nju and endini
with a garbled edition of Everyman, rewritten by Georg
Sterling. (Who will, one wonders, rewrite Shakespeare'
Romeo and Juliet at some later date?)
156
THE LITTLE THEATRE OF LOS ANGELES 157
Miss Barnsdall will be remembered as the producer

of Alice Gerstenberg's dramatization of Alice in Won-
derland, most successfully given in New York and other
cities three or four years ago. This production was
memorable for its unerring casting, and for its delight-
fulwhimsical scenery designed by a Chicago artist whom
"
Miss Barnsdall discovered."
For her Los Angeles Little Theatre venture Miss
Barnsdall wisely chose Norman Bel-Geddes, whose orig-
inal decorative ideas are widely known to students of art
in this country. He evolved some extraordinarily inter-

esting sets for the Little Theatre, notably for Nju and
for Zoe Akins' Papa, the latter having posteresque effects
and a sense of pattern that made the scenes memorable.
He caught exactly the gay inconsequential spirit of the
piece. Richard Ordynski was the director of the Little
Theatre.
The company of the Little Theatre was made up
partly of professionals and partly of amateurs. While
this led to the discovery of Ann Andrews, a young
Californian amateur of ability, who has since joined
the ranks of the professional stage, Miss Barnsdall feels
that to have a company of seasoned professionals and
utterly untrained amateursis a thing not to be repeated.
The sure touch of the very experienced professional

shows the very unsure touch of the inexperienced ama-
teur. This is an interesting fact. It shows that where
a Little Theatre company is to be made up of amateurs
and professionals, the amateurs must be potential
artists, skilled in their craft, or the discrepancies will be
too great, as they were at the Little Theatre in Los
Angeles.
The plays given at the Little Theatre included Nju,
by Ossip Dymow, a Russian play given for the first time
in this country; Papa, by Zoe Akins, an American com-
edy, given for the first time on any stage ; Conscience, a

play in one act, by Owen Taft, Jr.; The Supper Scene
from Anatol, by Schnitzler; The Shadowy Waters, by
W. B. Yeats; Mrs. Holyrod, by H. D. Lawrence; Christ-
mas week matinees of The Return of Proserpine, by
Florence Kipper Frank, and Everyman.
Comparisons may be odious, but to one who remem-

bers the poignant simplicity of Ben Greet's production
of Everyman, the ornate costumes and curtains of George
Sterling's revamping of that ancient tragedy of the soul

marks the very elaborateness that the Little Theatres of
today are trying to do away with.
Undoubtedly Miss Barnsdall will do much that is
worth while in her new art theatre. It was her gift as
a producer which made possible the charm, the f ragrancy,
the perfect ensemble of Alice in Wonderland. That was
a true achievement. And one can wish for the Little
Art Theatre of California no better luck than to have
Miss Barnsdall guide its destinies as skilfully as she
guided the destinies of Alice.

THE LITTLE THEATRE OF INDIANAPOLIS
THE Little Theatre of Indianapolis, founded in the

Autumn of 19x5, gives one-act plays by American and
European authors and also specializes in producing new

one-act plays that have never before had production. It
also gives, occasionally, a play in three or four acts. Its
first director was Samuel A. Eliot, Jr., and the critics
have spoken in high praise of the investiture and tempo

of the productions given under his direction. The com-
pany made up of amateurs with professional aspira-

is
tions. Mr. Eliot went on to other work after his first

year with the Indianapolis Theatre, and since then the
theatre has passed through many vicissitudes; appears
in danger of dissolution changes ; its director and its com-
pany, and struggles bravely on!
Its secretary, William O. Bates, describes its policy
and achievements thus :
'
The Theatre Society of Indiana has no theatre
Little
of its own.
During the season of 1915-1916 it gave its
performances in the sculpture court of the John Herron
Art using its entrance hall, only twelve feet
Institute,
wide', asa stage. It is a vast and handsome room, but

seats only about 200 persons and the acoustics are
very
poor. The fine stairways flanking the stage on either
side proved best feature.
its
During the season of 1916-
1917 the performances were given in the Masonic Tem-
159
about 1,000 persons, but with a shallow stage
pie, seating
and inadequate dressing rooms. The society is sadly in
need of a proper place to give performances, Indian-
its
apolis having no small theatre with an ample stage.

"
As to the price of seats, members of the society are
given a certain number of coupons for their subscrip-
tions, so that seats cost them about fifty cents each. To
the general public a charge of one dollar was made at
first, but this was soon dropped to fifty and twenty-five

cents, according to location.
"
We have a subscription list
of some 200 persons who
constitute the membership of the society.
"
The players are mostly amateurs with an occasional
retired professional. Several who began as amateurs
have graduated to the professional stage.
"
So far as difficulties go, the backers of the under-
taking have had to make their bricks without the straw of

either a proper place to give their performances, or a
public more than mildly interested in their efforts. But

they made bricks just the same.
"
The membership is $5.00.
"
Each membership is entitled
to twelve coupons, which
may be presented singly or en bloc at performance. The

society also offers a combination membership with the
Indianapolis Center of the Drama League for $5.00,
whereby a membership in that organization is given for

one year along with a Little Theatre membership, carry-
ing with it ten coupons.
"
The purpose of the Little Theatre is to encourage
the production of new plays, plays which cannot be pro-
THE LITTLE THEATRE OF INDIANAPOLIS 161
duced by the commercial stage, either because of their

content or lack of commercial possibility in short to
encourage community endeavor of an original char-

all
acter in the field of the theatre. The Little Theatre calls
particular attention to the fact that

two of the plays listed
here have never been produced on any stage and that
these two plays are the work of Indiana men W. O.
Bates and Theodore Dreiser.
"
Polly of P ague's Run, by W. O. Bates, is a drama
of Indiana in 1863 in the tense moment of the historic
'
battle of Pogue's Run/
Indianian throughout.
It is
Morton, Sulgrove, and Coburn are, of course, historical,

and every incident has historical basis. The production
of this play is a step in the trail blazed by Lady Gregory,
and follows her ideals as worked out at theAbbey The-
atre a play of the locality, written, designed, costumed,
and played by the community itself.
"
Laughing Gas, by Theodore Dreiser, was produced as
an experiment. Many critics asserted on the publication
of Theodore Dreiser's Plays of the Natural and the Su-
pernatural that it was

impossible to produce Laughing
Gas. It is the story of a man who is operated on, and
what he meets realm of unreality while the opera-
in the
tion actually going on.

is Rumor has it that Dreiser
wrote this first as a motion picture scenario. Certain it is
that it is
typical of the modern art theatre movement in its
problem of rhythm. Those 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 discussion in this production. The Little Theatre
in Indianapolis stands for experiments of all sorts as a
laboratory stands in medicine for experiment. The set-

ting is the work of Mr. Donald Dohner and Mr. Harri-
son Brown, and is an experiment in the suggestion of the
motion of reality. Mr. Orlopp has an experiment in
light effects. To those who are interested in new effects,
the trial of particular interest/'
is (For illustration, see
page 212.) The repertory of the Little Theatre Society
has been as follows :
1915-1916
Polyxena, adapted from the Hecuba of Euripides, by
S. A. Eliot, Jr. ;
A Killing Triangle, original burlesque in
pantomime, author not announced; The Glittering Gate, by
Lord Dunsany The Scheming Lieutenant, by R. B. Sheri-
;
dan; Dad, original comedy of Hoosier life, by Maxwell

Parry; The Pageant of the Shearmen and Taylors, a
Christmas Miracle play, adapted by S. A. Eliot, Jr. The ;
Pretty Sabine Women, by Leonid Andreyeff; The Broken

God, original masque on the war, by Hortense Flexner;
Overtones, by Alice Gersternberg The Florists Shop,
;
by Winifred Hawkbridge; The Game of Chess, by Ken-

neth Sawyer Goodman; How He Lied to Her Husband,
by Bernard Shaw; The Dark Lady of the Sonnets, by
Bernard Shaw; Dawn, by Percival Wilde; The Kisses
of Marjorie, by Booth Tarkington; Chicane, adapted from
Jack London; The Groove, by George Middleton.
The season concluded with a commemoration of the

Tercentenary of Shakespeare's death at which brief scenes
from several of his comedies were given by the full com-
pany, some 100 in number. During this season some
$3,000 was collected and expended.
THE LITTLE THEATRE OF INDIANAPOLIS 163
1916-1917
A Centennial Cycle of dialogued excerpts from the works
of Maurice Thompson, Grace Alexander, "Robert Dud-
ley,"Catherine Blake, Booth Tarkington, George Ade,
Meredith Nicholson, and James Whitcomb Riley, prepared
by Mrs. Kate Milner Rabb, William O. Conway, and Mrs.
Aletha V. McNaull.
Polly of Pogue's Run, original Civil War play, by William
O. Bates Laughing Gas, original play by Theodore Dreiser
; ;
The Farce of Pierre Patelin, French Thirteenth Century;

The Lost Silk Hat, by Lord Dunsany; Duty, by Seumas
O'Brien; The Maker of Dreams, by Oliphant Down; The
Importance of Being Earnest, by Oscar Wilde; Lithuania,
by Rupert Brooke; Suppressed Desires, by George Cook
and Susan Glaspell; Cathleen ni Hoolihan, by William
Butler Yeats; The Rising of the Moon, by Lady Gregory;
Spreading the News, by Lady Gregory.
THE LITTLE THEATRE OF KANSAS CITY
THE Harlequin Players of the Little Theatre of Kan-

sas City, Kan., were established in 1917 by Ann Peppard.
Their director is Charles Edwards and he has under him
a completely organized theatre staff, including five pro-
ducers. The scenic designs of this theatre are by Theo-
dore M. Criley. The
Theatre company is composed
Little
wholly of amateurs very ambitious amateurs if one may

judge by the policy outlined on their gray program with
its bowing harlequin figures. The outlined policy runs
thus:
"
Wewish to be considered a part of the Little The-
atre movement in the United States and that movement
means, we take it, not a quarrel with the theatre as it is,
but an objection to the narrow scope of it. want, We

in short, not less but more of the commercial drama
more, not in quantity but in range. It is in order to
supply this range that groups of people all over the coun-
try people not necessarily closely connected with the
stage as it is, but interested in experimental trials of new
kinds of plays, scenery, costumes, and unities, have at-
tempted in a pure amateur spirit to give vent to their

ideas and aspirations though not always with amateur
material.
"
Our first object is to amuse. But we believe that even
those of you who love the theatre best sometimes feel a
164
THE LITTLE THEATRE OF KANSAS CITY 165
need. It is as if an doomed to spend

intelligent reader,
his life in a library filled only with books of detective
stories, crook stories, eternal triangle stories, society
stories, stories of courtesans, and stories of the great
Northwest should long, for one brief evening, to read

a few pages, say of Kenneth Grahame or of Homer, or
of Flaubert, or of Lewis Carroll.
"
Another of our objects is to crystallize dramatically
the local scene. Instead of the familiar comic cockney,
not possible to have a comic Kansan? Instead of
is it
drawing-room conversation in the great hall of the Duke

of Dewlap's castle, can we not have something equally
racy in a similar apartment on Armour Boulevard ? These

we believe legitimate objects and to them we subscribe
our hands and hearts.
"THE HARLEQUIN PLAYERS."
It is interesting to note that a play of Kansas life has

already been given: The Bully, by James F. Goodman,
with its scene laid in the mining district of Southeastern
Kansas.
Among the plays produced by the Harlequin Players
have been The Price of Orchids, by Winifred Hawk-
The Shep-
bridge; Helena's Husband, by Philip Moeller;
herd in the Distance, by Holland Hudson; The Bully,
aforementioned, by James F. Goodman.
THE LITTLE THEATRE OF ERIE, PENN.
The Little Theatre of Erie, Penn., is a thriving insti-
tution. It follows the note dominant in so many experi-

mental Little Theatres today, namely, it stresses the work
of American authors. Among, the dramas that it has
produced have been Dawn; A House of Cards, and The
Noble Lord, by Percival Wilde.
THE LITTLE THEATRE OF BROOKVILLE, PENN.
The Little Theatre of Brookville, Penn., is another

small and promising playhouse which has featured the
same plays by Mr. Wilde that have been given in the
Little Theatre of Erie, Penn.
166
OTHER LITTLE THEATRES AND MOVEMENTS
TOWARD LITTLE THEATRES
IT is a little hard to know where to place the so-called
LITTLE THEATER OF MINNEAPOLIS. A
start toward hav-
ing a Little Theatre has been made by using one of the

halls ofMinnesota University. It can hardly be called
a Laboratory Theatre since only occasional performances
connected with the playwrighting course are given there.
It is used for so many different functions that it can
scarcely claim the permanent title of a Little Theatre.

Yet undoubtedly a Little Theatre may in timegrow from
the work accomplished there, particularly when that work
includes performances of new and unusual plays of such
sterling worth as Jeanette Mark's prize plays of Welsh
life, The Merry Merry Cuckoo, and Welsh Honeymoon,
which have already been given there.

A Little Theatre has been discussed for St. Paul; but
as yet no definite plans for it can be announced though
seed for the venture was sown by a set of experimental
performances given there three years ago by Sam Hume,

now director of the Arts and Crafts Theatre of Detroit.
Other cities who have groups working toward the es-
tablishment of Little Theatres are Pittsburgh, Cincinnati,
and Portland, Ore.
167
CHAPTER VIII
THE LITTLE THEATRES OF THE SOUTH

THE VAGABOND THEATRE OF BALTIMORE
To some readers the name of Baltimore's Little The-
atre, The Vagabond, may suggest a group of players who

and then
travel about the country acting first in one place
in another manner of some of the journeys of
after the
the Portmanteau Theatre. But the word Vagabond in
this instance is meant to suggest untrammeled freedom
of mind rather than a roving foot. The theatre is sta-
tionary; but its spirit, like the spirit of the true vaga-
bond, is free,
experimental, eager.
On the cover of its large square program of heavy gray
paper there is the picture of a fifteenth century vaga-

bond, Frangois Villon-ish in his aspect. cap with a A
feather ;
a debonair and tattered tunic ; the famous bundle
and stick without which no vagabond can pass muster
these complete his make-up, and conspicuously carried
with the stick and the bundle are the immemorial masks
of tragedy and comedy.
On the back page of the program is printed the avowed
hope and purpose of the organization.
'
The Vagabond Players is a group of artists, actors,
and authors interested in stimulating and developing new
169
170 THE LITTLE THEATRES OF THE SOUTH
and artistic methods of producing, acting, and writing for
the American stage and especially in introducing to the
Baltimore public those newer ideals which have lately
become an intrinsic part of dramatic aspiration princi-
pally freedom and free experiment.

"
The
intention of the Vagabond Players is to produce
new works by American authors and important plays of
foreign writers that would otherwise not be seen in
Baltimore.
"
Admission will be by subscription. The price is
$10.00 for one and $18.00 for two subscriptions for the
season. A
subscription admits the holder to one per-
formance of each bill, the same night every month.
"
Subscriptions are open to all who are interested, and
may be obtained upon application to the treasurer.

"
Single seats may be had at the request of any sub-
scriber upon application to the treasurer/'
Location always adds its quota toward a Little The-

atre's success; and the Vagabond Theatre is most happy
in this respect. It is in West Center Street, a pebble's
throw from historic Monument Square.
Before being remade into a theatre it was a store,
though it has become so splendidly metamorphosed that
no one would ever recognize it. It is on the ground
floor, and is entered directly from the street.
The interior of the Vagabond Theatre has been de-
signed by one of the theatre's directors, Carol M. Sax

an artist whose scenic designs for Ruth St. Denis
are among the best she has had so far. This in-
"
terior carries out the Frangois Villon idea. That poet
THE VAGABOND THEATRE OF BALTIMORE 171
vagabond," could he see it, would hardly fail to be

pleased. The whole interior breathes an aroma of the
mediaeval. The beamed in
walls are gray; the ceiling
weathered wood. The seats are Gothic benches. They
have blue cushions. The curtain is a tapestry of patches
like the great cloak of a prince of vagabonds. It gives
the effect of something rich and faded a mingling of
gray and old gold, Venetian blue and old rose with
here and there a patterned bit on which birds or flowers
are faintly discernible. The proscenium border is dull
gold with an outer border of dull blue. Sconces break
the line of the wall. Here and there hang pieces of
tapestry. All in all The Vagabond can boast one of the
most charming interiors of any Little Theatre in America.
It seats sixty people, making it one of the smallest
theatres in this country. Its stage is raised some three
and a half or four feet from the floor. The whole house
with the exception of a few seats is sold out by sub-
scription. That is, the subscribers are the actual guar-
antors, though they have no voice in the affairs of the
theatre. Out of sixty seats there are five seats left.
These can be purchased from members at $2.00 apiece.

Two performances a week are given throughout the
season. Each bill plays a month. The price of seats of
The Vagabond, so far as is known, are higher than at
any other Little Theatre in the United States for there ;
are no one dollar or fifty cent seats to be obtained by the
general public even on special days. The small seating

capacity of The Vagabond doubtless has something to
(Jo with this. A theatre with only sixty seats must cal-
culate carefully. It must have emergency funds. But
the Chicago Little Theatre with a seating capacity of
ninety is able to place dollar seats and fifty cent seats be-
fore the public, even though rents are higher in Chicago
than they are in Baltimore. The vety people whom a
LittleTheatre ought to reach an art public slim in
purse but large in vision are by such prices debarred
from the vistas that a Little Theatre might open for
them. And it is not only these people who lose. The
theatre itself loses one of the essential things that makes
it a Little Theatre its
democracy. becomes a clique
It
theatre. This is the only fault that one can find with
The Vagabond Theatre and its many excellencies. Its
directors, Mrs. Adele Nathan and Mr. Carol Sax, worked
valiantly first to arouse interest in the Little Theatre idea

in Baltimore, and secondly to establish the Little The-
atre after interest had been secured. It is largely due to
their efforts that there is a Little Theatre in Baltimore.
Baltimoreans are to a gratifying degree represented
in The Vagabond Theatre work. Baltimore has long
been the Winter home of many American artists of note,
and several of these have given generously of their time
and work, among them Joseph Weyrich, who designed
the scenery for A Merry Death. Clementine Walker,
Raymond Sovey, and Oliver Bell are others who have
done scenic work for The Vagabond. Baltimore play-
wrights are represented by Henry L. Mencken and
Mrs. Adele Nathan. The former's play, The Artist, was
given an early production at The Vagabond; and The
Vagabond's single effort at pantomime The Song of
Solomon, by Adele Nathan, was rich in the colors

of the East. Thus The Vagabond Theatre expresses
the native art-impulse of the city of Baltimore, and any
theatre with such beginnings is bound to go far. It does
not rely altogether on outside forces ; but draws its forces
from within itself, a thing that makes for permanence and
stability. It goes without saying that the company of
Vagabond Players are all Baltimoreans, some of them

possessed of a fine degree of talent.
No one connected with the theatre receives a salary
save the stage carpenter. There is a large corps of work-
ers and as Little Theatres go the permanent cast is a
large one. There are at least thirty people who can be
drawn upon at short notice.
The Vagabond Theatre devotes all its energies to pro-
ducing the one-act play. Longer plays are not given as
yet. Three one-act plays an evening is the rule. The
opening bill, November, 1916, consisted of
Artist, The
by H. L. Mencken Ryland, by Thos. Wood Stevens and
;
Kenneth S. Goodman, and A Merry Death, by Nicolai

Evrienof. In the latter play the austerity of the new
stage artwas manifest.
The whole scene setting of Ryland was worked out in
gray and mauve with touches of white. The prison walls
were cold gray; while the eighteenth century costumes
of the actors were orchid-like in color, running through
a scale of lavenders and purples. This scene setting was
designed by Carol M. Sax.
In A Merry Death the walls again were gray. Through
a quaintly shaped doorway were glimpsed queer bpxlike
trees against a yellow sky. A bright orange table some ;
three-legged gray stools; a narrow orange-colored four-

post bed with a canopy of black and white cubes com-
prised the rest of the setting. The walls were unadorned
save for a window high in the wall giving on the out-
side, and a round clock measuring the hours hung near
the bed. Outside the window, just visible to the audi-
ence, was a blackbird in a wicker cage. This set was by
Joseph Weyrich, who designed the interior of the Prov-

incetown Players Theatre in New York. Its fantastical
atmosphere was in exact accord with the spirit of the
play that recounts the merry death of Harlequin. Yet

it was obtained by the simplest possible means.
In a later production of Susan Glaspell's Freudian
comedy, Suppressed Desires, there was a plain wall with

stenciled medalions, highly decorative furniture, and a
striking note obtained by the use of widely striped cur-

tains that stamped the room with an air of oddness and
chic the room in question being a studio in Washington
Square South. In these effects, always simply attained,
the Vagabond Players excel.
The programs of The Vagabond Theatre bring before*'
the public plays by Baltimoreans; plays that other Little

Theatres are giving; and plays that are acknowledged
masterpieces in America and Europe. These Vagabond

programs are well spiced with variety, and are most hap-
pily arranged. For instance, the first program was an
art program music, represented by Mr. Mencken's play ;
painting, by Mr. Stevens' play; and acting, by Evrienof s

A Merry Death. Another program was a program of
Above, a scene from Lord Dunsany's The Glittering Gate, at? THE
ARTS AND CRAFTS THEATRE, DETROIT, MICH. Scene Jdesi^'ied
by Sam Hume. (See Page 152.)
Below, scene from Thomas Wood Stevens and Kenneth S vloodnrin's
"
Ryland, at THE VAGABOND THEATRE, BALTIMORE, Mb. jScene

designed by Carol Sax.
"
Nationalism, represented through The Betrayal,
isms."
by Padraic Colum; Freudianism, represented by Sup-

pressed Desires, and Socialism, represented by Contem-
poraries, by Wilbur Daniel Steele. All this marks high
tide in the art ofprogram-making, for which The Vaga-
bond's director, Mrs. Adele Nathan, is responsible.
In giving a cross section of what other Little Theatres
are doing the Vagabond Players strike a new and happy
note. They do not copy other Little Theatres in either
the setting or the costuming of the plays. It is as if
"
they simply said Here is a play done by the Wash-
:
ington Square Players. Here is a play done by the

Provincetown Players. This is what they are doing at
the Little Theatre in Chicago and this is what they are
doing at the Neighborhood Playhouse in New York.

You have seen what the Vagabond Players have pro-
duced. Now take a look at what other Little Theatres
are accomplishing in other parts of the country."
Too many Little Theatres forget that there are any
other players in the world besides themselves. The
Vagabond Players give a sense of cosmopolitanism.
Their work shows a consciousness of their own world,
and of other worlds outside it. They have given not
only the work of other Little American Theatres; but
the work of five different countries besides America,
namely, Russia, Belgium, England, Ireland, and Sweden.

The Vagabond Theatre is a much-needed art center for
Baltimore, and that city can well be glad to have the new
and significant things of drama brought into its midst
through the efforts of this pioneer group.

i?6 THE LITTLE THEATRES OF THE SOUTH
The repertoire of The Vagabond Theatre has been as
follows :
<r
The by Henry Mencken; Ryland, by Thomas

Artist,
Wood Stevens; The Merry Death, by Evrienof; Bound
East for Cardiff, by Eugene O'Neill; The Stronger, by
Strindberg; A Miracle of St. Anthony, by Maeterlinck;
Contemporaries, by Daniel Wilbert Steele The Betrayal, by
;
Pardaic Colum Suppressed Desires, by Susan Glaspell and

;
George Cram Cooke The Double Miracle, by Robert Gar-

;
land The Song of Solomon, by Adele Nathan The Maker

; ;
of Dreams, by Oliphant Down; The Theatre of the Soul,

by Evrienof; Black 'Ell, by Myles Maleson, and Over-
ruled, by George Bernard Shaw.
THE LITTLE THEATRE OF WASHINGTON, D. C.
THE Drama League Players of Washington, D. C.,
founded 1916-1917, intend to establish a Little Theatre

"
in Washington where they will present in an artistic
manner, for discriminating audiences, plays of a high

order not otherwise or often produced on the com-
mercial stage. It is hoped that from this beginning a
National Theatre will eventually be evolved.
Since the Drama League Players have no Little The-
atre building as yet, they used during 1916-1917 the
auditorium of the Wilson Normal School, seating 800
people. The price of seats was fifty cents. The director

of the theatre is Bertram Bloch. During the 1916-1917
season a number of interesting plays were produced.
Some American authors were represented but there were
a greater number of productions of plays by foreign
authors. If the Drama League
Players of Washington
hope to have their Little Theatre grow into a National
Theatre, it would appear that the time is ripe for them
to begin producing plays by American authors. No Na-
tional Theatre has ever had its beginnings rooted in the
work of foreign authors. The Irish Players, the Man-
chester Players, and the Players in Wyspiansky's The-
atre began by giving native works, not imported dramas.
As far as a Little Theatre rather than a National The-
atre goes, the Drama League Players of Washington offer
177
i?8 THE LITTLE THEATRES OF THE SOUTH
a most interesting program for next Winter, largely made
up of works by English and American authors.
The Drama League Players as an organization is com-
posed of gifted amateurs. Some of the plays produced
by the Drama League Players have been The Tragedy :
of Nan, by Masefield; Cathleen ni Houlihan, by Yeats;

Lady Patricia, by Besier; and Suppressed Desires, by
Susan Glaspell and George Cram Cooke. During 1917-
1918 they will produce for the first time in this coun-
try a -new Bernard Shaw play, Augustus Does His Bit.
They will also give The Admirable Bashville, by Shaw,
and Jane Clegg, by St. John Ervine, as well as The Faith
Healer, byMoody; The Leader, by Jeremiah O'Connor;
The People, by Susan Glaspell; Spring in Bloomsbury,
by Harold Brighouse; The Christening Robe, by Anne
li Estabrook *Bound East from Cardiff, by Eugene
;
O'Neill; A Doctor in Spite of Himself, by Moliere.

THE LITTLE THEATRE OF NEW ORLEANS
THE New Orleans center of the Drama League pur-
poses having a Little Theatre, and will begin active work
in the Autumn of 1917. The idea of having a Little

Theatre has been fostered by the play-producing com-
mittee of the New Orleans center. The plans for the
policy of this new Little Theatre are not fully matured.
As in other Little Theatres special interest is centered in
the production of one-act plays, plays new to New

Orleans, which the citizens of that city might not other-
wise see. The audience will at first be composed of the
300 members of the New Orleans center. Whether or

not there will be other subscribers has not yet been de-
termined upon. Until such time as the Little Theatre is
rented, or built, Gibson Hall in Tulane University will
be used as a Little Theatre. The Beau of Bath, and
Counsel Retained, by Constance D'Arcy Mackay, have
been chosen for the opening bill of this Little Theatre.
179
THE LITTLE THEATRE OF LOUISVILLE
Louisville, Ky., is also organizing a Little Theatre, and

the preliminary meetings have already been held. The
theatercompany will begin work in the Autumn of 1917.
Until such time as a permanent Little Theatre can be se-
cured the performances will take place in a local theatre
and the admission will be nominal. A committee has
been formed to pass on all prospective members. Any
one interested in acting, designing, or playwrighting, is
eligible to membership. The policy of the theatre will
be to produce plays which are not usually seen upon the
commercial stage, in particular the one-act play.
The object of the organization is " to produce either
plays of known value or new and untried plays. It prom-
ises to be a stimulant to unknown writers for the stage,
who are cordially invited to submit their plays to the
play-reading committee for perusal."
180
CHAPTER IX
LABORATORY THEATRES
No history of the Little Theatre movement in the
United States would be complete without a survey of
the work done in the Laboratory Theatres of universi-
ties. This does not mean the excellent but sporadic
" "
special performances that color university life
throughout the year. The work of the Yale and Har-

vard Dramatic Clubs and those of Columbia and Prince-
ton are interesting in themselves; but these performances
do not constitute a theatre where genuine repertory
exists, where students work out their own dramatic prob-
lems in scenic effects, and lighting; in costuming and
program-making. The occasional dramatic performances
of universities are of interest to the relatives and well-
wishers of those taking part; they are often interesting
also from an historical point of view as revivals of old
plays The Alchemist at Harvard, or Troilus and Cres-

sida at Yale. But the Laboratory Theatres of univer-
sities, on the other hand, produce old plays only occa-
sionally. Their work is of the present; their produc-
tions have contemporary interests; they appeal to the
general public not to an archeological public. They
make a point of trying out plays for the first time on
any stage. As soon as one production is completed

182 LABORATORY THEATRES
another is under way, almost as it is in a good stoc
company.
The longer play and the one-act play usually alter
nate on Laboratory Theatre programs. The studen
workers in these university theatres are striving to per
feet their technique in the arts of the stage therefor
there is definite standard to the productions.
HARVARD'S 47 WORKSHOP THEATRE
Twenty years ago to have said that the art of the

theatre should receive recognition as a fine art and count
as points toward a college degree would have seemed
like suggesting the wildest nonsense. Yet today it is
accepted as an interesting rather than a revolutionary
fact.
The pioneer in this movement was Professor George

Pierce Baker of Harvard who pstahlishpH flip first nri~
t
versity course in playwrighting in this country jand the

first
University Laboratory Theatre. His work in teach-
ing debate and polemics as well as his course in English
drama led to his evolving a course now widely and collo-
quially known as English 47 47 being the number of
the course in the college curriculum.
This course teaches the principles of playwrighting to
" "
a limited class dubbed Baker's Dozen twelve of
whom are students of Harvard and twelve at Radcliffe.
On the rostrum of those who represent the success of
the Baker method are the names of Edward Sheldon,
Edward Knoblauch, Jules Eckert Goodman, Josephine
Preston Peabody, Frederick Ballard, Cleaves Kinkaid, and
Lewis Beach.
The classes of men and women are taught separately.
The course lasts one college year, and students for it
must send in competitive plays. There is also a scholar-
183
ship in connection with it the McDowell Fellowship,
entitling a student to the full course. It is a competitive
fellowship, won by the best three-act or four-act play
submitted by any young man or woman who has not
previously taken English 47. Quite apart from Pro-

fessor Baker's interesting and stimulating lectures .there
are other strong drawing cards for the dramatically
ambitious.There is the Craig prize, consisting of $500;
$250 of which goes to the Harvard Dramatic Library
and $250 winner who has the pleasure and
to the lucky
instruction of seeing his play staged for a run at the
Castle Square Theatre in Boston, one of the best stock
companies in America. This play must be written while

its author is a student in English 47. Plays written a
year after aspiring dramatists have left the course are
not entitled to consideration.
The Harvard Dramatic Clubanother source through
is
which Professor Baker's students are given an oppor-

tunity to visualize their plays.
It would seem with all these activities as if the stu-
dents had enough to satisfy the most voraciously ambi-
tious. But they cannothope to win the Craig prize,
all
so an auditorium standing in one of the college buildings

was developed into a little Laboratory Theatre, the first
Workshop Theatre in this
country."
Everything about this theatre is done by the students
themselves, with Professor Baker as guiding spirit or
chief regisseur, assisted by an executive committee of
graduate students. Thus the work of the class room is
related to definite action.

HARVARD'S 47 WORKSHOP THEATRE 185
The Workshop Theatre was established in 1912 and

proved so popular with the student workers that all who
applied could not be accommodated. So in 1916 a Sum-
mer course was established for teachers and students who
flocked to it from all parts of the country. "The 47
"
Workshop," as Professor Baker says, is not in the usual
sense a theatre. It is simply what the name implies, a
working place for young dramatists."

The Agassiz Theatre, decorated in quiet colors, seats
300 people. The stage is adequate, barring the fact that
entrances are only at right and left, and that the posi-
tion of some jutting masonry has to be taken into account
whenever scenes are designed. There is no possible place
"
to stack scenery in back." These limitations, outwardly
drawbacks, stimulate the ingenuity of the student. De-

"
spite these hindrances other entrances are arranged."
Scenes are miraculously taken down and set up.
It is obvious that of all the people taking the course,
few will turn out to be professional playwrights. Pro-

fessor Baker himself says that he is content if he turns
out one, or at the most two, successful playwrights a year.
Many students who come to him as embryo playwrights

develop theatre talents other than playwrighting.
They
work at stage management, and scenic designs; at cos-
tume designs; at the decorative type of drama such as
pageantry and masque. And last but not least many of
the students return to their home towns enkindled with
the idea of starting a Little Theatre. Thus the very
difficulties offered by the 47 Workshop stage become
assets. The students are equipped to cope with handi-
i86 LABORATORY THEATRES
"
caps, to use what they have to obtain what they have
not," as the ancient Greeks were fond of saying. More-

over, they are trained in methods of economy other than
space economy. They learn how to create colorful effects
from very simple material, and to manipulate expense

accounts accordingly no small thing when it comes to
the running of a Little Theatre. Also they have actual
experience in stage lighting the lighting falling largely

to the care of the men students ; while to the women the
actual making of costumes sometimes accrues, down to

the veritable cutting out, basting, and sewing together.
Also it is largely the women students who hunt for props
" "
and accessories tiny notes that build the atmosphere
of a play.
Workshop performances are chosen

Plays for the 47
through competition: when the script has been selected
for production, the designs for its setting are likewise
selected competitively.
Admission to the performances is by invitation,

"
rigidly restricted to persons interested in such experi-
mentation as the Workshop offers." Past and present
members of English 47 as well as students from Pro-
fessor Baker's courses in dramatic literature form one-
half the audience; the other half is drawn from Cam-
bridge and Boston. Since the demise of the Toy Theatre
the 47 Workshop Theatre is the only Little Theatre ir
Boston or Cambridge.
Though invitation tickets are free, each person attend-
ing the play is requested (and in the case of students

required) to send in a criticism of not more than four
pages. By this means Professor Baker seeks to subject

"
the play to as many different kinds of judgment as
possible." That these criticisms may be terse and to the
point the following printed suggestions are given to the

amateur critics :
1. Does the playwright leave you clear as to his pur-

pose both as to theme and kind of play, whether farce,
comedy, or what? If so, judge him by what he has
tried to do. The question is, not how you would have
treated the subject, but whether for you the author has
succeeded or failed in what he has tried to do, and why.
2. Don't judge the play till all the evidence is in.
Today, too many audiences let a first or second act preju-
dice them for or against the whole play.
3. Don't trust your first impressions at the call of

the final curtain. Before making the report, think over
these instinctive judgments, verifying them by details of
the play which recur to you.
4. Don't confuse the work of author, actors, and pro-

ducer in the success or failure of the play. Give each
his share in what must be co-operative work.
5. In praise or censure try to indicate where in the
play you find your evidence for your conclusions, and

whether failure or success lies in story, characterization,
dialogue, or structure.
6. Be as severe as you like if fair and specific: the
general and the clever are not helpful.
"
All plays given first production by the 47 Workshop
have thus been reworked," says the prospectus.
These criticisms are signed as a guarantee of good
i88 LABORATORY THEATRES
faith. Then the names of the amateur critics are re-
moved and the criticisms passed on to the respective
authors of the plays. No professional critics are ad-
mitted, since the plays produced are not in their final
form. are plays in the making.
They Their final re-
writing occurs after, not before, the Workshop pro-

duction.
Whether or not the student wishes to submit his play
for production and criticism is entirely optional. Only
a percentage of the plays submitted to the executive com-
mittee are accepted. As a rule most of the students are
"
extremely eager for a try-out."
The
student playwrights do not, save in rare instances,
rehearse their own plays. Students specially interested
in producing plays take charge of this department under
the general supervision of Professor Baker.
Acting, pantomime, and diction are not taught in the

Workshop Theatre save incidentally. There are four-
teen permanent members in the Workshop company men ;
and women selected by the executive committee on

account of their inherent dramatic ability. To this group
are added members of the Playwrighting Course when
the occasion warrants it. Those wanting to act simply
go ahead and act exactly as did the Irish Players in

their Dublin Hall. The 47 Workshop Theatre is a play-
wright's laboratory theatre not a school of acting. Sim-
ple naturalistic playing is the rule.
The Workshop company is pledged to act whenever
called upon, and to take the parts assigned without par-
ley. Professor Baker declares that the Workshop The-
atre owes its success to the loyalty and spirit of this
group, who develop their powers through the repertory

system. That is Professor Baker's avowed opinion. But
it is the view of outsiders that the Workshop Theatre
could not exist save through the herculean efforts of
Professor Baker, who is at once director, teacher, lec-
turer, and critic.
The Workshop policy is to produce long plays and

one-act plays in almost equal numbers. Pantomimes in
the Workshop Theatre are few and far between. But
some excellent work has been done along pantomimic
lines; Sam Hume's Romance of the Rose, with decora-
tions by Mr. Hume and music by Timothy Spelman,
being among the best. Here the small stage of the Work-
shop Theatre, blotted with moonlightand shadow, gave
a sense of mysteriousness not often created on stages
thrice its size.
Though the Workshop Theatre seldom revives old
plays, gave a rollickingly good performance of Pierre

it
Patelin long before that mediaeval French farce reached

New York and was set before the patrons of the Wash-
ington Square Players. For
this, two extremely simple
sets were devised, as straight and prim of line as are
some of Boutet de Monvel's paintings. Against the gray

straight walls of the French houses the plum and old
gold and green and scarlet of the costumes were joy-
ously effective.
Why Chimes Rang, by Elizabeth McFadden, was
the
an admirable bit of inscenation. The first and last acts
show the interior of a peasant's home with brown walls,
190 -LABORATORY THEATRES
r
the red flame from fire and candle gleam lending the
only touches of bright color. This scene darkened and
dissolved into a cathedral set, which had a great win-
dow in center background of (imitation) stained glass
through which light streamed on a high altar beneath it,
gules of gorgeous color falling on it in a pattern. The

crowd of worshipers in the cathedral were in brilliant
mediaeval dress, cardinal red, vivid blue, and orange pre-
dominating. The change from shadow to this brilliant

scene was most effective.
It is in costume rather than in modern settings that

the best scenic effects of the Workshop Theatre are ob-
tained. As example, the outdoor setting and the mediaeval
costumes for Miss Wright's The Wonder-worker may
be mentioned.
Among the grayly realistic plays the production of

Home Sweet Home, by Violet Robinson, an American
drama play in one act, is memorable for its bitter truth-
fulness.
The Revesby Sword Play, another revival, was a great

success, introducing as it did the vigorous and beautiful
sword and morris dances. This was of course given by
a cast of men.
The Workshop Theatre also gave the first production
of Eyvind of the Hills, by Johann Sigurj6nsson, the Ice-
landic dramatist. This play, with its quaint Icelandic
costumes, its colorful yet starkly simple settings, proved
so popular that it was repeated in Jordan Hall, Boston.
The greater length of time renders it possible to stage
more plays in the Winter course than in the Summer
!|
I iS
H
< H~,
O
5-1
II
course, bit more adequately.

and perhaps to stage them a
Yet the Summer course of great value to the com-
is
munity at large because to it come teachers who other-

wise might have no chance to acquaint themselves with
the aspects of the newer stage art. They bring back to
their respective towns ideas that will aid in revolution-
izing local college, seminary, and high school produc-

tions, and through these productions the feeling for what
is simple yet effective must seep through to the audience
and give them a desire for better things dramatically than
they have ever known before.
The plays produced by the Workshop have been as
follows :
WINTER SEASON, 1913

Lina Amuses Herself, by W. Fenimore Merrill; Edu-
cated, by Marian F. Winnek; Molly Make-Believe, by
Eleanor Halliwell Abbott Coburn.
WINTER SEASON, 1913-1914

Home
Sweet Home, by Violet Robinson; Maitre Patelin;
Romance of the Rose, by Sam Hume; The Call of the
Mountain, by Edwin Carty Ranck; His Women Folk, by
Abby Merchant; Why the Chimes Rang, by Elizabeth
McFadden Ivon the Daring, by Anna Sprague McDonald
; ;
The Revesby Sword Play.

The Only by Caroline H. Budd; In for
Girl in Sight,
Himself, by Mark W. Reed; Nothing but Money, Mar-

garet Champney ;
Court Favor, adapted from Oscar Wilde's
The Infanta's Birthday, by Astrid Kimball ; The Waves of
Torre, by Ethel Claire Randall; Between the Lines, by
Charlotte B. Chorpenning. J(This play won the Craig
prize and was later produced at the Castle Square Theatre,
Boston.)

The Purple Dream, by Donald L. Breed (one-act) The ;
Rebound (three acts), by Thomas P. Robinson; Plots and

Playwrights, by Edward Massey (this play was later pro-
duced by the Washington Square Players, New York City) /'
Return of the Prodigal, by Lewis Beach; The Other Voice
(one-act), bySydney Fairbanks; Prudence in Particular,
by Rachael Barton Butler.
SUMMER SEASON, 1916
(In connection with the Harvard Summer School)

The Wonder-worker, by Lucy Wright; The Rescue, by
Rita C. Smith; The Florist Shop, by Winifred Hawk-
bridge. (These three were one-act plays.) The Glory of
Their Years, by John Redhead Froome, Jr.

Will O'The Wisp, by Doris F. Halman; The Colonel's
Commupence, by Katharine Clugston; Eyvind of the Hills,
by Johann Sigurjonsson, Icelandic dramatist; Rusted Stock,

by Doris Halman.
THE DARTMOUTH LABORATORY THEATRE
DARTMOUTH Laboratory Theatre work began in ear-

nest in the year 1913, though up to that time there had
always been a dramatic club which gave various enter-

tainments throughout the year. But in that year Wallace
F. Robinson presented the Little Theatre to the college,
and Walter F. Wanger was made director of dramatics,
although at the time he was only an undergraduate.
Mr. Wanger's idea was to make of the Dartmouth
Dramatic Association a common-sense practical munici-
pal theater controlled by an undergraduate stock com-
pany. His policy has been in force ever since. This
policy, as outlined by Gilbert Swett, Mr. Wanger's suc-
cessor, is as follows :
"
Our aims are twofold : First to give as professional
finish as we are capable of to every production that we
undertake. We do not seek to be judged, and, as a
matter of fact, are not judged by our audiences by ama-
teur standards. We want them to come to the perform-
ance to see the show and not simply to see Charley or
Jim or Bill make asses of themselves. If we are poor,
they tell 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 there may be in the undergraduate
body at Dartmouth. Since we are so dependent upon
193
194) LABORATORY THEATRES
our efforts for everything in the dramatic line, it neces-
sarily helps us to adhere to this policy. Playwrights,
scenic artists, composers, and men with any dramatic
ideas of any kind bring them to us and if they are worth
while, we carry them out.
"
There is no tolerance of plays given because of the
props of college spirit and personal acquaintanceship with
the actors. There are no fond mothers and aunts to
spread compliments during the customary post-perform-
ance dance so common to amateur shall we say amateur-
ish productions.
"
At the head of the organization stands the director,
whose duties are to direct the other officers, co-ordinate
all the interests, and coach the acting. The stage man-
ager has charge of the scenery and electrical equipment.
The property manager attends to the properties and cos-
tumes. The business manager attends to the front of
the house entirely. The officers are chosen entirely by
competition. Every year the candidates from the sopho-
more class work throughout the year and at the end
are chosen according to their merit for positions as the
During their junior year they receive

assistant officers.
training under their immediate superiors and are well

fitted to take up the duties of the major offices in their
senior year.
"
Two of the most radical of our moves were the elimi-
nation of the professional coaches and the utilization of
the association by playwrights as a laboratory for un-
produced plays, which are to be tried out before an audi-

ence before their production.
DARTMOUTH LABORATORY THEATRE 195
"
We keep in constant touch with the English depart-
ments of Dartmouth devoted to playwrighting and are
always willing and anxious to produce an undergraduate
play if it is at all worth producing.
"
In the recent number of the Editor, a notice appears
over our name, offering our services as a laboratory for
working out ideas. These ideas must be worth while,
practical, and interesting. We have already received sev-
eral answers and expect shortly to do something along
this line."
The Little Theatre in Robinson Hall seats 250 people.

The interior is cream color with stenciled decorations
and hangings of red velvet. The theatre is practical in
every way, even to details of the box office and cloak
room. In the cellar of the building are large bins in
which the scenery is stored, and a special room devoted
entirely to costumes. The price of seats for the entire
house of save at prom, commencement, and
fifty cents,
carnival weeks, when $1.50 is asked.
The stage decorations have been largely in the hands
of one student artist, John L. Ames, who has designed
admirable scenery for most of the plays. Sometimes
this scenery is impressionistic; flat scenes without per-
spective have been made use of a la Robert Jones; and
there have been the usual modern sets. In one play
everything was in black and white scenery, costumes,

and properties. Another good effect was secured through
" "
covering the regular scenery flats with cambric of
different colors and flooding this with vari-colored lights.
Again, extremely interesting effects were obtained by

i 96 LABORATORY THEATRES
the use of a white cheesecloth cyclorama painted with
light.
Since no women take part in the performances, this
fact naturally influences the selection of plays. Among
themost successful of the Dartmouth performances from
an artistic point of view have been The New Sin, by
MacDonald Hastings, and The Workhouse Ward, by
Lady Gregory, who herself journeyed to the Laboratory
Theatre to witness this production also Witter Bynner's
;
The Little King, a play of the French Revolution; the

firstproduction on any stage of The Man from the Sea,
by Charles Goddard and Paul Dickey; Leave of Absence,
by Carl Freybe; the first production in this country of
Gilbert Canaan's James and John] Maeterlinck's The
Intruder; Maurice Baring's Catherine Parr; Blood Dark
and The Burden of Life, by two undergraduate students.
Blood Dark was highly impressionistic, showing the
shadowy graveyard of a battlefield with three stark
crosses. No actor appeared in the play: only the voices
of the dead were heard. Conan Doyle's Speckled Band
was a popular success by reason of its melodramatic
qualities.
The Second Shepherd's Tale was produced in an Eliza-
" "
bethan manner, with the stage localized to represent
different scenes.Dunsany's A Night at An Inn; George
Ade's Nettie, and Sutro's Man in the Stalls, are, it is
planned, to be the next productions. There have also
been a number of semi-private productions, inexpensively
staged, of plays of Tchekoff, Lady Gregory, and Synge.
Programs of one-act plays have been taken on the road
DARTMOUTH LABORATORY THEATRE 197
and produced in adjacent cities. A matinee of one-act

plays in Boston gained high praise from the Boston
critics, who were quick to acclaim the vigor and sin-
cerity of Dartmouth's laboratory work.
Many of the young men working in this Laboratory
Theatre go directly from it to the professional stage.
The most conspicuous example is Walter Wanger, now

with Granville Barker.
This is the aesthetic side of Dartmouth Laboratory
Theatre; but it must be admitted that there is another
side to it. In order to run the dramatic association as
" "
a municipal stock company is run, popular plays have
" "
to be put on shows that will appeal to college men,
faculty, and townsfolk alike. Therefore the history of
genuinely creative work done along the lines already
described is blurred by a series of musical shows like
Naughty Nero, in which the men take women's parts;

and by a series of Broadway successes in which men
take women's parts also. The idea back of producing
" "
thesetwo types of drama is that highbrow stuff will
not draw the college men on a steady average; nor will
it draw the townspeople of Hanover

for any length of
time. There is Hanover, and the work of
no theatre at
the Dartmouth Laboratory Theatre is the only drama

that the townspeople are likely to get during the year.
Here is a curious anomaly on the one hand the Dart-
:
'
mouth Dramatic Association upbuilds the very things for

which the new movement in the theatre stands; and on
the other hand it tears them down. Here is a magnifi-
cent opportunity to imbue Dartmouth men and Hanover
townsfolk with the love of the finer things of the the-
atre, and it is only half seized upon. Dartmouth has a
wonderful equipment in its theatre and the free spirit in
which it is managed; and perhaps as the years 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
while in the theatre.
A whole
series of plays in which all the characters are
men could be readily given. The dramatic literature of
Europe and America has countless one-act plays in which

there are no feminine protagonists. A man's theatre
where plays were given in which all the characters were
men would be an interesting experiment. There is a
strong feeling of the ludicrous ever uppermost where
men take women's parts in modern plays; yet, should
all-men casts prove monotonous, there are always the
farcical rough-and-tumble pre-Elizabethan plays where
men can take women's parts with genuine artistic suc-
cess as they did in The Second Shepherd's Tale and as
they have done in Pierre Patelin, etc.

" "
What if the so-called highbrow plays do not
" "
take at In any modern theatre movement
first !
progress is always slow. And if the colleges do not

uphold the literature of the theatre, then all one can
say is: it is high time that they did! Dartmouth has

already done so much that one cannot but hope she will
do more,
THE LABORATORY THEATRE OF THE CARNEGIE
INSTITUTE AT PITTSBURGH
THE Laboratory Theatre of Carnegie Institute of

Technology in Pittsburgh was established in 1914. It is
housed in the School of Design. Its director is Thomas
Wood Stevens, author and artist, whose historical pag-
eants and plays are favorably known to the American
public.
Work Laboratory Theatre covers a four-years*
in this
course, including acting, costume designing, scenic de-
signing, playwrighting, history of the theatre, stage man-

agement, and last but not least, business routine of the
theatre.
Carnegie Institute is, so far as is known, the first in
the field to give a degree of Bachelor of Arts in the

Drama. Its graduate students are acting in professional
theatres and producing masques and pageants through-
out the country.
Acting is the major concern of this Laboratory The-

atre. To it, all the other arts of the theatre are secondary;
yet they are studied in order to give %the student a well-

rounded idea of the difficult profession which he is
"
entering. The intention is to produce a full knowledge
rather than a specialized practice."
The Carnegie Laboratory Theatre seats 420 persons.
It has a steel curtain which is ornamented by a some-
199
what overcrowded painting of ancient Rome, which de-
tracts considerably from the noble simplicity of the the-
atre. The walls are paneled, from floor to ceiling, in
straight white oak. There is a white and amber sky-

light. Six mural paintings flank the stage, three on
"
each side. Above the stage is the inscription : Ici
Inspiration deploye ses ailes." (See illustration facing
page 218.)
The stage, instead of being separated from the audi-
ence, reached by a flight of steps. It is fully equipped
is
with a loft and grid, a trapped floor, and a modern in-

stallation of lights.
In connection with the stage there are dressing rooms

and a spacious costume room with a collection of cos-
tumes. Some
of these are in wardrobes ; others hang in
serried ranks against the wall. There are mirrors, sew-
ing machines, cutting tables, forms on which to place cos-
tumes everything that ingenuity can devise to further
the work of getting costumes into shape.
The scene-painting studio has all the facilities for
active scenic work, including paint frames, canvas, and
lights for experimental lighting. The student begins by
doing very simple work in the studio, and ends by taking

up the problems of illusion scenery and stage decoration.
Models for scenes are made the problems of scale and
:
perspective are dealt with. Talks on electricity and light-
ing are supplemented by actual laboratory work in the

theatre. Twenty sets of scenery are already in use that
have been painted by the students in the scenic studio.
To outline the policy of the theatre one cannot do
u
THEATRE OF THE CARNEGIE INSTITUTE 201
"
better than quote from its prospectus Acting must be
:
a major subject with all students of the department,
though in the fourth year of the course other thesis work

may be elected. During the year simple parts and
first
one-act plays will be studied; during the second year

the acting of certain classical plays; during the third
year modern dramas. A

certain number of plays will
be given public performances each year.
"
The credits in direct technical work are given on the
Beaux Arts method of mentions for accomplishment, not
on the number of hours spent in rehearsal. The work
in the fourth year allows the student to specialize in
acting, in stage decoration and scene design, in dramatic

literature, composition or criticism, in costume, or in the
general work of production; but these optional courses

must be founded on excellence in the previous study.
"
A limited number of applicants are admitted each
year to partial courses, without certificates or examina-
tions, upon the recommendation of the dean or the head
of the department. These students take short programs
of studies, and are not candidates for the degree.
"
Night classes are offered in rehearsal and acting only
to a limited number of students. The schedule calls for
two evenings a week, three hours each evening."
One matinee a week is given by the students, and sev-
eral important productions take place during the year.
Many of these are revivals of classical plays. One-act

plays by modern authors and long plays by modern
authors are given in equal number. Every production
has about four performances. No seats are for sale.
In order that the students may become acquainted witK
as many widely different methods of producing as pos-
sible,guest directors produce at the Laboratory Theatre
each year. Among these have been Donald Robertson,
well known as actor and producer. Padraic Colum, the
Irish dramatist, has staged the Irish plays givenby the
students. Mrs. E. P. Sherry, the director of the Wis-
consin Players, put on Zona Gale's The Neighbors as
part of the Laboratory Theatre work. Another guest

artist Poel, founder and director of the
was William
Elizabethan Stage Society of London, England. B. Iden
Payne, who has a number of fine productions in New

York permanently associated with the
to his credit, is
Laboratory Theatre as associate professor of dramatic

art. Before coming to this country Mr. Payne was gen-
eral manager of the National Theatre, Dublin, and had
organized repertory seasons in Sheffield, Leeds, Glas-
gow, and Edinburgh.
The most effective of the Laboratory Theatre's pro-
ductions Mr. Stevens considers have been Donald
Robertson's production of Tartuffe; William Peel's
production of Poetaster, and B. Iden Payne's produc-
tion of Winter's Tale.
The scenery for Two Gentlemen of Verona was espe-
cially noteworthy in the way it gave richness and
beauty
of effect through unelaborate means, the uncluttered stage
lending a sense of spaciousness. Two pieces of tapestry,

an offertory table, and three high-backed chairs were all
that were needed to give an indoor scene a feeling of
dignity and opulence. The church scene in Much Ado

THEATRE OF THE CARNEGIE INSTITUTE 203
About Nothing was also singularly effective, with its
austere white altar, its great stained-glass window at
back, and its costumes showing brilliantly against the

darkness of the church walls.
Besides the regular work of the students, compli-
mentary performances have been given for Miss Maude
Adams, Miss Margaret Anglin, and Mr. E. H. Sothern's
company, also one for Mr. Richard Burton, former presi-
dent of the Drama League of America.
The acting at the Laboratory Theatre is far and away
above the average. Charles M. Bregg, dramatic critic
"
of the Pittsburgh Gazette Times, has this to say Last :
Saturday night the writer

. saw
. a performance of
.
Shaw's clever satire, You Never Can Tell, that compared

in acting and stage essentials favorably with any profes-
sional productions ever made in America. If this were
a critical review
might point out the various collec-
I
tive and individual evidences of the truth of this asser-

tion. It was astonishing to see and hear these young
' '
players grasp the inside of Shaw's somewhat attenu-

ated satire, and display its meaning."
Someof the plays produced by the Carnegie Labora-
tory Theatre have been:
Two Gentlemen of Verona, by Shakespeare The Shadow ;
of the Glen,by John Synge Dancing Dolls, by K. S. Good-

;
man The Land of Hearts Desire, by W. B. Yeats The

; ;
Betrayal, by Padraic Colum; The King's Threshold, by

W. B. Yeats; The Violin Maker of Cremona, by Frangois
Coppee; Iphigenia in Tauris, by Euripides; The Tents of
the Arabs, by Dunsany; Much Ado About Nothing, by
Shakespeare; The Chaplet of Pan, by Rice and Stevens;
You Never Can Tell, by Bernard Shaw As You Like It,
;
by Shakespeare Glory of the Morning, by W. E. Leonard

; ;
The Neighbors, by Zona Gale; Tartuffe, by Moliere; A

Winter's Tale, by Shakespeare; The Importance of Being
Earnest, by Oscar Wilde Paolo and Francesca, by Stephen
;
Phillips, and The Cloak of Dionysus, a Greek Masque, by

Howard F. Smith and Theodore A. Viehman. For this
masque all the audience came in Greek costume and joined
in the final march through the temple.
THE THEATRE WORKSHOP
Miss GRACE GRISWOLD'S Theatre Workshop in New

York City is a laboratory for professional theatre work-
ers rather than for student workers.
The Theatre Workshop, with an office in the Knicker-
bocker Theatre building, does not yet possess a local
habitation, but its group of players are working for that
desired end. And something more. Its policy as out-
lined by its executive secretary and moving spirit, Miss

Grace Griswold, is to "gather together, here in New
York, which is the home of the profession, the traditions
of the theatre from its distinguished exponents and pass
them on to the younger generation now deprived of these
benefits, by the absence of the first-class stock companies,
such as Daly's, The Lyceum, and The Empire, which are
no longer profitable or possible under present conditions."
The Theatre Workshop was organized late in the
Autumn of 1916 for the purpose of centralizing the vari-
ous creative interests of the theatre for their mutual
inspiration and for the non-commercial enlargement of
"
their opportunities as follows : It will give the actor
opportunities for practice, try-out, and performance in
parts adapted to his talents. It will give the producer

a chance to experiment in the new methods of staging;
will let the playwright see his plays tried out with com-
205
patent casts, and will give scenic and costume designers
a place to exhibit their work. A manager will be able
to select his material 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 a more sympathetic understanding of the art of the
theatre from the professional point of view/'
The Workshop already has a group of fifty players on
its list, most of them engaged with the Workshop activi-
ties, some of them now playing in Broadway casts. The
production department has the following active members :
Grace Griswold, Edith Wynne Matthison, Mary Shaw,

Olive Oliver, and Harry Neville. Others promising
co-operation are: Otis Skinner, Julia Arthur, B. Iden
Payne, Edward Eltsner, W. H. Gilmore, and Minna
Gale Haynes.
The Theatre Workshop even now, before it has a per-
manent experimental plant of its own, strives to be a
clearing house for the best in drama.
It will send out
its group of players and scenic and costume artists to
co-operate with Little Theatres, with civic masques and

pageants, with colleges, and even with schools such as
the Finch School, which has its own Little Theatre, the
Lenox Theatre, on Fifty-eighth Street.
The Workshop Players already have a repertoire
which includes The Twelve-Pound Look, by Barrie;
In a Balcony, by Browning; The Tents of the Arabs,
by Dunsany; The Bracelet, The Open Door, and A Mar-
riage Has Been Arranged, by Alfred Sutro; The Gaol
Gate, by Lady Gregory; The Pot Boiler, by Alice Ger-
THE THEATRE WORKSHOP 207
stenberg; The Haunted Chamber, by Felix O'Toole;

The Shadow in the Glen, by Synge.
A two dollar membership entitles its owner to per-
sonal notification of Workshop performances, free and
otherwise, and to two seats at one subscription per-

formance.
CHAPTER X
LITTLE COUNTRY THEATRES

ONE of the finest things about the present Little The-
atre movement in this country is its
democracy. Little A
Theatre's insignificant cost of maintenance makes it a
possibility for the city, for the suburb, and most of all,
for the country.

As a rule there are no theatres in America's rural dis-
tricts save picture theatres. As some one has wittily re-

"
marked :
They have the movies, but not the speakies."
Screen drama is in their midst, but drama acted by actual
people is not. That moving concomitant, the speaking

voice, is absent unless perhaps a third-rate barnstorm-
ing company appears in the local town hall or "opry

" "
house." Or there may be theatricals by the people
of the village or the grange. That was as far as drama
went in country places.
But the Little Theatre movement spread to the coun-

try, and a change as strange as that wrought by Aladdin's
lamp suddenly took place. There is something of magic

about the word theatre. Calling a place a theatre instantly
establishes a standard of production, of plays, of general
atmosphere. The maundering or trivial plays that do

" "
well enough for private theatricals in the town hall
cannot draw the breath of life in a theatre. Their faults

209
2io LITTLE COUNTRY THEATRES
stand out too glaringly ; they suddenly become cheap and
absurd.
Alfred Arvold, who established the first Little Coun-
'try Theatre, did so because he declared that the coun-
"
try needed life, intellectual life, so much more than the
city."
"
Says Mr. Arvold In desolate rural districts of the
:
West where there is only one Eastern passenger train a

day, the whole town turns out to watch that train come
in. Why? Because to country people it represents a
larger life. They do not know it; but the hunger that
impels them to the station is a hunger for adventure, for
romance, for something different. Give these same peo-

ple a Little Theatre to attend, to- work for, to plan for,
and mark the difference. The spell will be laid alike on
players and audience, since both players and audience will
be drawn from the community. Their hidden love of the

strange, the romantic, the colorful, will be focused and
satisfied."
The city has snobbishly believed that the country can-

not appreciate the finer things of drama, and there the
city is absolutely wrong. A

farmer at Mr. Arvold's
Little Country TheatreNorth Dakota upon witnessing
in
a play by Bjornstjerne Bjornson remarked succinctly :
" "
This show has got the movies skun a mile !
THE LITTLE COUNTRY THEATRE OF
FARGO, N. D.
LITTLE Country Theatres are always of the community

type. Audience, players, stage hands, directors, artists,
and playwrights are drawn from the people themselves.

The workers in the Little Country Theatre of Fargo,
N. D., are the Washington Square Players of the plains.
This was the first Little Country Theatre ever established
in the United States.
Mr. Alfred Arvold, of the University of North Dakota,
saw the possibilities that lay dormant in an abandoned
chapel that stood on the university grounds. He re-
modeled this chapel into a small theatre; had several

simple scenes made, and drawing together the artistically
inclined of the community, began to produce plays. His
theatre met with a success so astonishing that it is now
backed by the United States Government. The latter
sees in the Little Country Theatre a new power for
country life.
A dramatic lending library is run in connection with
MrAAlvord's theatre, so that the whole state of North
Dakota may know the joy of reading as well as seeing
plays. Some of the plays that have been produced at
this Little The Newly Wedded Couple and
Theatre are :
Leonore, by Bjornson; A
Pot of Broth, by Yeats; The
Traveling Man and The Workhouse Ward, by Ladjj
211
212 LITTLE COUNTRY THEATRES
Gregory; Sam
Average, by Percy Mackaye; 'Op-o'-Me-
Thumb, by Pryce and Fenn; Miss Civilization, by Rich-
ard Harding Davis; A 'Scrap of Paper, by Sardou; An
Enemy of the People, by Ibsen; an Icelandic Folk Play,
put together by the people of the community from old
legends of Iceland. Many of the farmers come from
that country, and for that reason this play held special
significance. Besides these there were plays by local

"
playwrights, dealing with country problems. Country
"
Problems Plays they might almost be called. These
were The Prairie Wolf, by J. W. Lange; Bridging the
Chasm, by Charles Carlson, and A Bee in a Drone's
Hive, by Cecil Parker.
In this theatre there are no boxes or balconies. The
seating capacity is 200. The color scheme is green and
gold. The walls and ceiling are beamed in golden oak.
The curtain is forest-green velour. The eight windows

of the theatre are curtained in the same color. The seats,
broad and comfortable, are of stained birch. Indirect
lighting is used for the stage and auditorium.

Above, scene from Theodore Dreiser's Laughing 'Gas, as produced at
THE LITTLE THEATRE OF INDIANAPOLIS, IND. (See Page 162.)
Below, scene from The Prairie Wolf, by John B. Lang,
T
as produced
at THE LITTLE COUNTRY THEATRE, FARGO, \ D..
OTHER LITTLE COUNTRY THEATRES
THE success of Fargo's theatre led the people of KEN-
SAL, N. D., to wish for a Little Theatre. Through the
public-spiritedness of the wish was grati-

community this
fied. The farmers raised $2,500 and built a theatre

modeled after Mr. Arvold's. Their repertoire is prac-
tically the same as the Theatre at Fargo.
Little
Another Little Country Theatre has been established

in McKiNLEY COUNTY, N. D., by using (and redecorat-
ing) some unused rooms above the country grocery store.
Partitions were taken down a stage built and seats for
; ;
170 people installed.

THE OHIO AGRICULTURAL COLLEGE is working toward
a Little Country Theatre and has already done laboratory
work in this connection by producing plays during
"
Farmers' Week," and while farmers' conventions are
in progress. Between Two Lives, a modern farm moral-
ity play, by Charles Burkett, was their first offering. This
play contains a plea for new farming methods, and shows
the country boy that with these methods his chance of
succeeding in the country is just twice as great as if he

went to the city.
213
THE LITTLE PLAINFIELD (N. H.) THEATRE
POSSIBLY the most beautiful Little Country Theatre

in America is the Little Plainfield Theatre, at Plain-
field, N. H. It was remade from the Plainfield
town hall, a building of sturdy colonial type. (See illus-
tration, page 246. ) It has neither balcony nor boxes, but

its seating capacity is 250. Its color
green scheme is
and white ; proscenium arch is flanked by gray-green

its
lattices that lend a rustic note. The curtain is ruby

velour.
The Little Plainfield Theatre is equipped with lighting
facilities and scenery that many a city theatre
might
envy. The interior scenes have been painted by Mr.
Howard Hart, who originated the idea of this theatre,
worked out its possibilities, and then turned it over to
the Plainfield community. Its woodland scene has been
painted by Mr. Maxfield Parrish.
The repertoire of this theatre is not a lengthy one since
the theatre itself has been recently established. Its first
production, The Woodland Princess, by Mrs. Max Per-

kins, marked an innovation in Little Theatres in that
it was for children, acted by children. The next pro-
duction was a three-act charade, written by the people
of the community around the name of the theatre's donor,
Howard Hart. After this came a brief farce from the
German; and now a series of Yeats-Gregory plays are
under consideration for production,
314
THE QUILLCOTE THEATRE OF HOLLIS, MAINE
The Quillcote Theatre, at Hollis, Me., is a Little

Country Theatre remodeled from a barn, where poetic
one-act plays are given. This theatre is owned by Kate
Douglas Wiggin, and it is the center of interest for all

the farms that lie near it, or within a radius of twenty
miles. A great gold quill pen is the weathercock on this
barn theatre, denoting its name, Quillcote.
The theatre auditorium is formed by moving seats into
place on the hardwood floor, facing the little stage that
" "
is at the further end. This auditorium seats 100.
The walls of this theatre are neutral wood that age has
stained a soft brown. The great beams of the ceiling are
hand hewn. From them hang bright-colored lanterns.
From the barn
doorways mellow vista of fields
stretches a
and winding road. Latticed windows are set in the wall,
adding an air of quaintness. Here the people of the
community may rehearse The Old Peabody Pew, or the
poetic plays of Austin Dobson, or other eighteenth cen-
tury vignettes, since this theatre is devoted to the costume
play.
The potentialities of little rural theatres are so great
that it would take a prophet of no mean order to tell all
that they may accomplish in the near future.
215
CHAPTER XI
COST OF MAINTAINING A LITTLE

THEATRE
THE reader of this book will have gathered from the
material in the foregoing chapters that each Little The-
atre worked out its expense account differently, its bud-
get being modified by the price of seats, the number of
seats, and the number of performances per week or per
month, as well as the policy of the particular theatre, and
whether or not it is addicted to the subscription system.
All these things have a bearing on the budget.
Prices vary so in different parts of the country, and
each Little Theatre has such individual problems to meet,
that any scale suggested for their maintenance must of
necessity be approximate. Rent is not the same in Gales-

burg, 111., and in New York City; in Bridgeport and
Baltimore. And jjent is one of the chief problems con-
J/
nected with the Little Theatre. Then, too, a Little The-
yx
atre's policy has an immense deal to do with its upkeep.
If the players are professional, or semi-professional, and
have a must be
totally different budget
weekly salaries,
arranged foiTThem from what is arranged for a Little
Theatre where the players are amateurs without salaries.
Then, -whether or not there i$ a professional director jvho
217
218 COST OF A LITTLE THEATRE
is paid a salary is another great consideration. If the
theatre building is used all the time by the company
playing and rehearsing in it, it naturally has a bearing
on the general expense. If the theatre is such that it
can be let for concerts and lectures it will help materially
with the rent. The seating capacity also is a considera-
tion, for it regulates the theatre tax. Every state in the
Union has different laws regarding theatre taxation.

Theatres are taxed according to seating capacity, and as
to whether or not tickets are sold at the door. Little A
Theatre tax may run from $300 to $500 per year accord-
ing to the state of the Union in which the theatre is
situated. Then, too, a theatre fireman has to be retained
on salary if the seating capacity runs above a certain
point.
Many Little avoid paying the the-

Theatres in cities
atre tax and the fireman's salary by doing away with the
box office and depending entirely on subscription. This
puts the theatreon a club basis. All these things
have to be taken into account in an estimate of theatre
cost.
Little Theatres are averse to giving out an itemized

list of their running expenses. The reason for this be-
comes apparent when one considers that the salaries of
players and director will be made public, and they are
sure to be moderate. Very often an extremely efficient
director will be willing to take a small salary a mere
living wage for the pleasure of working out his ideas

under Little Theatre conditions. But he does not care
to have this wage made public. Artists may design seen-
bfl
<
u
COST OF A LITTLE THEATRE 219
ery and costumes, actuated by a love for the thing done,

taking in return a mere pittance. But it
might jeopardize
their prices for other work were the exact amount of this
pittance known.
The Washington Square Players have the usual the-
atre expenses save in salaries, and scenic and costume
effects. It is with these that they make their point of
cleavage. Their players are willing to take small salaries
for the sake of what they are trying to do. By design-
ing their own costumes and scenery the
Washington
Square Players cut out the middleman and are on occa-
;
sion able to reuse their material.

To give " gleanings " from the expense accounts of
other Little Theatres: it is an open fact that Maurice
Browne of Chicago pays salaries that range from $TO
to $16.50 weekly, none higher.
For Theatres that pay no salaries to their play-
Little
ers $2,000 a season seems to be the usual sum for main-
tenance, if strict economy This sum, if

is practised.
the theatre is
properly managed, put back into the is
theatre fund and whatever is made over and above

this is paid out for any extra expenses the theatre may
incur.
The Provincetown Players avoid the theatre tax by "
doing away with the box office and organizing as a club

is organized. They, too, design their own costumes and
scenery. No set costs more than $13.50. And many of
them very much less than that. They use three sets each
evening. Now and again a set is

repainted and does
duty twice over. The Players have rented the ground
floor of ahouse for an inconspicuous sum. This has three
large rooms, two for the stage and auditorium, and one
partitioned off into dressing rooms. With forty cents
for seats, a seating capacity of 100, and seven perform-
ances a month they will not be able to make money the
firstyear; but they will be able to pay for their theatre
equipment, and to carry the rent of their theatre over the
Summer months, when the theatre stands idle. Next
year they can begin to have a theatre bank account. Of
course they pay no salaries to their members, which means
an immense reduction of expense.
The Workshop Theatre of Chicago has been able to
equip its tiny playhouse, pay for rent, light, scenery,

costumes, and printing, for $2,000 a year not a season,
a full year. Other Little Theatres are run for $2,000 a
season; but the Chicago Workshop Theatre achieved the

distinction of running a whole year for $2,000; produc-
ing thirty one-act plays.
The Prairie Players of Galesburg, 111., renovated a
building, installed seats, a stage, a box office, and light-
ing system; paid for their scenery, lighting, printing,

cleaning, and heating on a capital of $1,050 for one sea-
son's expenditure. But then, rents and living are lower
by two-thirds in Galesburg than in Chicago or New York.
Even so, this was a remarkable financial achievement only
made possible because the whole town worked for the
theatre, cheerfully lending everything the theatre wanted
to borrow. It was also possible because not one piece
of canvas or one single costume was allowed to go to
waste. Everything was painted and repainted, and dyed
COST OF A LITTLE THEATRE 221
and redyed in order to achieve this result. The most

rigid economy was exercised.
The wonder of running a Little Theatre for $2,000
is apparent when one considers that this $2,000 budget
can be stretched to cover rent, costumes, scenery, lighting,
printing, stage carpentry work, and cleaning. It is inter-
esting to note that this isyearly on which

the exact sum
J. T. Grein ran his Independent Theatre in London,
England, the theatre which first introduced Ibsen's

Ghosts to the English-speaking world. Three thousand
dollars a season is of course a more liberal budget, and
means less pinching and scraping, less wear and tear on
the artists' nerves.
To reduce the theatre budget to $2,000 a season, some
one in the Little Theatre group -must have a knowledge
of pigments of how to build scenery from compo board
;
as well as canvas; of how to use the draped stage, or,
as it is technically called, the stage hung with curtains.

Either the director or the theatre artist must also know
how to use and reuse certain scenic effects in combina-

tions that will not be detected by the audience.
A knowledge of the use of inexpensive materials is
also necessary, if the theatre is to be managed for this

sum, for the inexpensiveness of the costumes depends
upon how great or how beautiful an effect can be secured
through sateen, cotton poplin, mercerized cotton, cheese-
cloth, and crepon. Here is where a knowledge of dyes
is also invaluable. And last, but not least, if expense is
to be kept down, there must be some one experienced in <nr

painting scenes with lights. This, if certain scenes have
to be used again, will greatly lessen their monotony for
the audience. An outdoor scene painted with amber
light can be made to appear quite differently when given
a moonlit effect with blue and white lights. Such knowl-
edge forms the stock-in-economy of every Little Theatre

in this country.
CHAPTER XII
A WORD ON REPERTORY THEATRES IN

GENERAL
THE history of the theatre a history of contradic-
is
tions, a series of paradoxes. Every phrase that one writes

about it has to be qualified. For instance, one may de-
clare that popular approval does not necessarily mean
that a play is great. Mazeppa was tinsel claptrap, and
drew its tens of thousands. Yet Hamlet has drawn its
tens of thousands, and who
will deny that it is a great
play? (save only George Bernard Shaw!) Therefore

a play may be claptrap and popular, and it also may be
great and popular. A
modern critic has gone so far as
to declare that a playwhich draws only a limited audi-
ence cannot be a great play since it has no wide appeal.
Yet Maeterlinck's Sister Beatrice is a great play though it
could not draw crowded houses.

As another example of contradiction the evils of the
star system are apparent to any serious student of the-
atre conditions. But grant that the star system does foster
the long run; grant that the long run stultifies the actor
by keeping him month after month or even year after

year in the same parts after they have grown stale;
grant that the players are made to revolve around the
star,; that all the good speeches are put into the mouth
223
224 REPERTORY THEATRES IN GENERAL
of the star; grant all this, and with it the obnoxiousness
of the star system, and then ask whether or not the world
had been richer for the work of such stars as Irving,
Terry, Mansfield, and Marlowe? Certainly no theatre-

goer would be willing to forego his memories of the work
of these histrions, yet they represented the star system.
Or did they?
No rules can be laid down
These players
for genius.
would dominate any play they appeared in, no matter
how small the parts they undertook. One cannot bind
genius by ordinary rules. It would perhaps be better to
say that these stars represented the repertory system at

one angle they represented the star in repertory. Mans-
field was indefatigable in making new productions; he
was also indefatigable in keeping up his repertoire. He
seldom gave less than five plays when on the road. A
season in New York, given about a dozen years ago,
comprised ten plays. He produced Shakespeare, Ros-
tand, Ibsen, Moliere, and introduced Bernard Shaw to
American audiences. For young players his company
was a veritable school of theatre art.
Therefore the wholesale condemnation of the star sys-
tem must be qualified. Or the wholesale condemnation
must be reserved for the stars who are not stars at all,
" "
but mere hit-makers in a certain part. Once having
made the hit their name appears in capitals and they con-
tinue to play that part, or a part as nearly like it as pos-
sible, world without end. And the evil of the long run
system begins. It also begins when a play without a star

quite a trivial play like The Boomerang makes a hit
REPERTORY THEATRES IN GENERAL 225
and settles down on Broadway for an indefinite term.

Therefore the path of the young player was never
more difficult, artistically speaking, than it is today.
There are few dominating geniuses under whose banner

he can enroll himself while growing in his art, largely
because the repertory system which aided in developing
genius has ceased to exist. There is no star using that

term in its highest sense in the United States today
who makes any attempt at repertory.
Where, then, shall the aspiring young player turn?
Certainly there are several fine stock companies that

are keeping alive, according to their lights, some of the
traditions of repertory. First among these may be
mentioned the Northampton (Mass.) stock company, the
most significant stock company in the country, the one
stock company housed in a municipal theatre. Count-
less small cities throughout the land cities the size of
Northampton never reached by any first-rate traveling
company could further the cause of progress in dra-

matic art by establishing a municipal theatre.
Besides this admirable theatre there is the Castle Square
Theatre in Boston, and the Pittsfield Stock Company.
1
These, with the Municipal Theatre of Northampton, are
the leading stock companies of the East, just as Oliver
Morosco's stock company at Los Angeles is the leading
2
stock company of the West.
1
A full description of the Northampton Municipal Theatre, its
beginnings and its policy, is given in Appendix III.

Every Summer, of course, the Summer Stock Company blooms
2
the length and breadth of the land, from Portland, Me., to Seattle,
Wash. Nor is the American Stock Company the only one
But in spite of the many excellencies of these com-
panies and the surprisingly good work they turn out
on shoh notice the young player cannot stay more than
two or three years with any one of them, if he intends
to go far in his profession; for if he does he will un-
"
consciously acquire facile stock tricks." The stock
actor suffers from the short-run system almost as much
as from the long-run system. A stock company does not
portray the ideal repertory system. play in stock runs A
for a week and is then snatched off and another play is
put on. While the stock actor rehearsing Within the

is
Law every morning he is also playing Seven Keys to

Baldpate every afternoon and evening. Stock develops
versatility and fluency; but it takes more than these to
make an artist. The stock idea is not the repertory idea.
In repertory one play a month may be given; or three
plays may alternate through a month or six weeks. These
may be dropped from the company's program for a month
or six months and then revived again, as is done in the
best repertory companies of Europe. The
question
naturally arises as to why no attempts have been made
flourishing in the United States. French and German sojourners

in our larger cities have their own stock companies where plays
are given in their own tongue. New York has a number of for-
eign stock theatres; the oldest of these is the Irving Place Theatre
where a German stock company gives plays and operettas, chang-
ing their bill every week or every fortnight. Adolf Philip and
others now and then manage other German companies, and there
are several Yiddish theatres. The Theatre Francois, which strug-
gled along in New York for two winters, is to be supplanted by
Jacques Copeau and his Theatre du Vieux Colombier, which will
be a repertory theatre rather than a stock company. There are
also occasional performances in Italian.
REPERTORY THEATRES IN GENERAL 227
to establish a genuine repertory company in the United

States. The answer is that several attempts have been
made. Some of them have been fortunate; others un-
fortunate. None of them have lasted longer than two
seasons at the most. Is this a sign that the public has
turned back on repertory ?
its
Let us see. And let us be brave. Let us begin with

one of repertory's most colossal and oft-quoted failures
the New Theatre, the theatre at which Granville Barker
took one look, shook his head, and returned to England.
THE NEW THEATRE
THE New
Theatre opened November, 1909, under the
direction of Mr. Winthrop Ames. It was an endowed
!
theatre, devoted to the repertory system. There was
,talk of its becoming a national theatre. Thirty men of
wealth were Each subscribed $35,000.
its founders.
The whole theatre It was in effect
was on a vast
scale.
Max Reinhardt's Theatre of The Five Thousand a

theatre for great spectacles, for mass effects, for big
brush work. But there was no Max Reinhardt with a
large corps of trained assistants ready to direct its destiny.
During its first season it was a failure because it gave
plays of intimate appeal which were lost in its vast audi-
torium. Its second season was more successful than its
1
first, because gave more plays of the spectacle order.
it
But still the theatre was run at a loss, and it closed after
its second season. It lacked the democracy of appeal that
a theatre of The Five Thousand should have. It was,
as Henry Miller wittily said, "a dramatization of the
Diamond Horseshoe of the Metropolitan Opera House."
It showed plainly that money could not put a soul into
a theatre : could not even save a theatre wrongly planned.
The New Theatre never could have become a national
theatre for it lacked the spirit which makes a national
1
It also gave operas, though these were given up toward mid-
season.
228
THE NEW THEATRE 229
theatre possible. To call it a repertory theatre was almost

a misnomer; for it was too vast, too undemocratic to
suit that term.
Moreover, most of its productions lacked the smooth-

ness, the unity, the rhythm, that a perfectly organized
repertory company should have. The company gave the

effect of being too hastily gathered together. There was
little seasoned work.
Then, too, changes in the personnel
were constantly being made.

Now it is perhaps not too much to claim for the reper-
tory system that every attempt to establish it, whether it
failed or not, has in it something of permanent value

so far as the art of the stage is concerned. Failure as
the New Theatre was it did give some memorable pro-
ductions: 'Don, by Rudolph Besier, played so evenly,
with such a of values that, though it was a
fine sense
play essentially suited to an intimate theatre it made

its audiences forget the vast spaces through which its
points had to travel before reaching their hearers. Noth-

ing more beautiful than Edith Wynne Matthison's spirit-
ual portrayal of Sister Beatrice could be imagined. The
convent hall, its great door opening on a faint pink sky
against which poplar trees shivered silverly in the wind

of dawn, was one of the loveliest stage pictures of this
decade. The production of Maeterlinck's Blue Bird also
left little to be desired. Both
playing and its inscen-
its
ation had the wistful childlike yet colorful note of true
fairy tales. Wonderfully pictorial also was the investi-

ture of Josephine Preston Peabody's The Piper and Mary
Austin's The Arrowmaker. Out of all the rest of the
New Theatre's work that has faded and gone, these may
"
be counted among the things that remain."
Despite the defects already noted, many authorities con-
sider that the influence of these two repertory seasons at

the New Theatre was most significant and in a way the
father of the many independent and Little Theatre move-
ments that have followed.
Moreover, in spite of the unsuitability of many of the
plays that were given within its walls, the New Theatre
building itself was very important as indicating to Amer-
ica the fine appearance and detached situation appropriate
to a dignified theatre. W. J. Henderson, the musical

"
criticof the Sun, rightly called it The most beautiful
theatre in the Western Herhisphere."
The repertory of the New Theatre from 1909 till 1911
was as follows:
Antony and Cleopatra, Twelfth Night, 'A Winter's Tale,

and The Merry Wives of Windsor, by Shakespeare The ;
Edward Knoblauch; Strife, by John

Cottage in the Air, by
Galsworthy; The Nigger, by Edward Sheldon; The School
for Scandal, by Sheridan; Liz, the Mother (anonymous) ;
Don, by Rudolph Besier; The Witch, by Weirs Janssen,

adapted by Hermann Hagedorn At
IV of Brand, by Ib-
;
sen ;
and The Blue Bird, by Maeterlinck
Sister Beatrice ;
The Arrowmaker, by Mary Austin; The Piper, by Jose-

phine Peabody; The Thunderbolt, by Pinero; Nobody's
Daughter, by Paston, and Old Heidelberg, by Meyer
Foerster.
There were also produced during these two seasons by

visiting companies, and most of them in the subscription
THE NEW THEATRE 231
series, 71 Son of the People,

by Michaelis; Beethoven,
by Fauchois; Vanity Fair, by Hichens and Lenox, and
Mary Magdalene, by Maeterlinck.
After its first two seasons this theatre went through
varied fortunes under the name of The Century. Two
seasons were given up to spectacular productions of
The Garden of Allah and The Daughter of Heaven.
Later Mr. Otto H. Kahn and some of the original direct-
ors of the New Theatre project, along with other asso-
ciates, gave, with the Century Opera Company, two of
the best seasons (1913-1915) of popular-priced opera in
English that America has ever known. Since then the

" "
house has been devoted to musical shows of a very
popular order and not of the dignity which it was once

hoped might characterize productions within its walls.
GRANVILLE BARKER ON BROADWAY
A SUCCESSFUL repertory experiment was made by

Granville Barker and his excellent company during the
season of 1914-1915, when he gave a flawless produc-
tion of Anatole France's whimsical play, The Man Who
Married a Dumb Wife, and Shaw's paradoxical
Ândrocles and the Lion. The settings for these marked
a new advance in stage-craft so perfectly did the
W I
investiture catch the spirit of each piece. Mr. Barker did
much for the pictorial side of stage art through intro-
ducing the work of Robert Jones and Norman Wilkin-

son to a large public. The spirited, mellowly humorous
acting of these plays left nothing to be desired.
Exotically interesting also was Mr. Barker's produc-
tion of Shakespeare's Midsummer
Night's Dream, with
costumes and settings from the Eastern Ind, and its
gilded fairies. A little less interesting was his produc-
tion of Shaw's The Doctor's Dilemma.
Mr. Barker was brought to this country by the Stage
Society, an organization which helps to foster the cre-
ative things of drama, and Mr. Barker's season is ever-
lastingly to their credit. But it is a rule with the Stage
Society to start new movements, and once they are on
their feet, to begin their work anew elsewhere. They
brought Mr. Barker to this country; but they did not
guarantee their support of his work for more than a

232
GRANVILLE BARKER ON BROADWAY 233
season. Now such work as Mr. Barker's demands a

following that can be counted on, or at least a backing.
And as no such backing was forthcoming in the United
States (despite the promises of various wealthy patrons
of the arts), Mr. Barker returned to England, and as a
producer America knew him no more. But Mr. Barker's

influence is still felt in the things of the theatre. The
American stage is richer for his having come. Appar-
ently his season in the United States was an artistic
rather than an immense financial success.
An immense financial success! Here is the crux of

the whole problem.American managers want to make
vast sums of money; not merely moderate sums of
money. Why trouble about the great art of the theatre

and gain some paltry thousands of dollars when such
plays as Polyanna can be sent upon the road to make
half a million? Commercialism lies at the root of the
whole matter. It is cheaper to put on a long-run play
than to put on repertory, and vastly more money is to
be made by it.
GRACE GEORGE'S REPERTORY SEASON
IN 1916-1917 that brilliant actress-manager, Grace

George, produced five social comedies, every one of them
worth while from a literary as well as a dramatic point
of view. These were The New York Idea, by Langdon
Mitchell; Theby Henry Arthur Jones; Major

Liars,
Barbara, by Bernard Shaw; The Earth, by James D.
Fagan; Captain Brassbound, by Bernard Shaw. The
New York Idea, Captain Brassbound, and The Liars had
been seen before; Major Barbara was produced for the
first time in this country, and The Earth for the first time
in New York. The work of Miss George and her asso-

ciates was
universally praised. Although she might be
said to have been the star of her repertory company she
never kept the center of the stage. The plays were pro-
duced primarily as plays, not as vehicles for self -exploi-
tation. Her season was an unqualified success, lasting
"
eight months. The repertory theatre at last " cried
!
the press and the public.

The chief critics of the country hailed this move of
Miss George's as one of the most significant things
accomplished during the whole year. Forthwith it was
stated that Miss George would have a repertory season
every Winter. But another season has passed and this
promise has not been fulfilled. Miss George may want
to appear in repertory, but conditions are against her.
234
GRACE GEORGE'S REPERTORY SEASON 235
Indeed it was this accomplished actress who

said, upon
witnessing one of the programs ever given by the

first
"
Washington Square Players Any one interested in
:
the theatre could do nothing better than to help finance

this group."
THE LITTLE THEATRE AND REPERTORY
AND Miss George hit the nail on the head. For, after
his wanderings from commercial theatre to commercial
theatre, the aspiring young actor will find that it is in
the Little Theatres with their repertory system that the
possibilities for progress in his art are most apparent.

While repertory is dying out of the commercial theatre
it is bearing new and significant fruit in the Little The-
atres. They are the repertory theatres of the present.
No need to talk of establishing repertory theatres. The
repertory theatre is here, in our midst. To the ambitious
actor as well as to the ambitious playwright it offers
salient advantages. What though the salary be small,
the actor in a Little Theatre is given an engagement
that lasts the full season : there is no wear and tear : no
nerve-fraying uncertainty. There is no going on the
road with dreary one-night stands no time wasted going:
about to agents' offices hunting for the ever elusive job.

The actor in the Little Theatre may have to practise
economy. But it is easier to economize than to worry.

Worry has too often caused the death of (And art.
incidentally of the artist. ) The Washington Square

Players are paid small salaries by the year. That is,
their salaries continue over the Summer months when
they are not playing.

AS tp whether or not the young actor profits artisti-
236
THE LITTLE THEATRE AND REPERTORY 237
cally by the repertory system, take the concrete case of

Jose Ruben of the Washington Square Players. Here
is a young Frenchman, whose gifts, now being widely
recognized, would probably have been lost in the com-

mercial theatre. From the first his training has been
in repertory. He came to this country six or seven years
ago, playing small parts in Sarah Bernhardt's company.

Then he became leading man for the French Theatre
Company who acted in the tiny playhouse on top of the
Century roof where they gave repertory. After this
French company collapsed, Mr. Ruben played his first
English-speaking a minor part in The Garden of

role,
Allah. Then came a brief tour with Madam Yorska in
vaudeville, and then in 1916-1917 his engagement with

the Washington Square Players.
Now Mr. Ruben had been a leading man; he had also
acted with one of the greatest actresses of all time; but
he saw in the Washington Square Players a chance not
for money-making, but for development, and he took it.
Now his name is becoming one to conjure with. As Mr.
Woolcot, the critic of the New York Times, puts it:
"
His season with them had done much for them, for
him, and for us."
This is the keynote of what is being accomplished by
our new repertory theatres. They release the power of
the actor, and by freeing his imagination they likewise \
liberate the imagination of the audience.
APPENDICES
THE LITTLE THEATRE IN MEDIAEVAL TIMES
WHILE Antoine's Theatre was the first intimate indoor

theatre in the true sense of the word, there had already
been many intimate outdoor theatres before his time.
It is interesting to note that just as the first large theatre
was an outdoor theatre, as embodied in the theatre of
the Greeks, and later became an indoor theatre, so also

the intimate theatre had its beginning out of doors. The
idea of the first large theatre came from the Occident;
but the idea of a limited audience came from the Orient.
Six or seven hundred years before the Theatre Antoine
existed the plays of the No were given in Japan before
an audience which was never allowed to exceed twenty
persons, and seldom numbered more than fifteen. These
plays were usually given in the garden of some private
estate. They had the smallest permanent audience on
record purposely kept small, because the plays of the
No were a drama of aristocracy. Later a popular theatre
developed in Japan; yet until the middle of the nine-
teenth century the Daimios or grandees were not allowed
to attend the common theatre. Therefore the plays of
the No were the only plays they could see. These plays
"
were usually of a legendary or religious character, for
the appreciation of the elect, of nobles with minds trained
241
242 APPENDICES
to catch the subtle illusion on which the plays were
based." They were the intellectual dramas of Japan.
Thus in the Orient the limited audience, the small
theatre was aristocratic in the extreme, while in the
Occident the small theatre is essentially the theatre of
democracy. In the Orient the Little Theatre, through its
dramas, kept alive the old and traditional ideas; in the

Occident the Little Theatre stands and has stood for all
that is newest in ideas and art.
The garden theatres of mediaeval Italian noblemen

were also of the intimate type: the eighteenth century
indoor court theatres of Germany were often small in
circumference; but it was not until the opening of the
Theatre Antoine that the genuine Little Theatre came
definitely into view.
II
LITTLE THEATRES THAT HAVE FAILED
Out of fifty-five Little Theatres in the United States

there have been four failures; a small percentage when
one considers the odds to be overcome. Sometimes the
reason for failure lies with the theatre; sometimes it is
the audience that is to blame. A produced play is a

collaborated effort. Audience and players are inter-
dependent. A genuine love for art must exist in a com-
munity both inside and outside the playhouse if the
Little Theatre is to succeed. Where there is apprecia-
tion with both players and audience a Little Theatre
cannot fail. The admirable Little Theatre of Denver
(1915-1916) failed for lack of a literary public. The

Princess Players in New York failed because they tried
to give the public what their director thought the public
wanted, and even the great gifts of Mr. Holbrook Blinn

did not serve to ward off disaster. The Toy Theatre
in Boston failed because it was what its name implied.
Its workers did not take it seriously. The Nine O'Clock

Theatre in New York (1916) failed before it got to its
first public performance because it was established with-

out taking into consideration either the building laws or
the fire laws. When it was found that it could not be
made over to comply with these, it was abandoned.
243
244 APPENDICES
Charles Edison's Little Thimble Theatre (1915-1916)!
is temporarily closed, though not through lack of an
appreciative public. But it cannot at present be listed
under Little Theatres that are in actual existence. Why
it should be closed is a matter that rests on the knees
of the gods. It was the one free theatre in New York
City devoted to the interests of American artists. That

is, admittance was without charge. Tickets were sent
upon request. To
quote from its first announcement :
"
Charles Edison's Little Thimble Theatre has no other
purpose than to give young American musicians, com-

posers, poets, and playwrights a hearing." This the
Thimble Theatre gave them on its tiny, charmingly dec-
orated stage four nights a week. There was always an
interested audience. The beginner in any art finds it
difficult to get a hearing. This theatre removed that

initial difficulty. The great Free Folk Stage of Ger-
many, the most liberating force in the German theatre,
sprang from a beginning something similar to this. It is
a pity that such a Little Theatre as this cannot be per-
manently established in this county.
The Little Theatre of Winston-Salem, N. C, failed
for lack of public appreciation and support, although its
efforts were ambitious and interesting.
Ill
THE MUNICIPAL THEATRE OF NORTHAMPTON

(MASS.)
NORTHAMPTON, Mass., has the only Municipal The-

atre in the United States, and its history is thus tersely
set forth on the theatre programs :
"
Northampton, Mass., has the distinction of being the
first city in the United States to establish a Municipal
Theatre and company Municipal, because the theatre is .
owned by the city and the support of the resident com-
pany of players practically guaranteed by thecity through
subscription tickets and pledge cards. This idea was put

forth and made operative by the Northampton Board of
Trade, January, 1914, when they appointed a large
committee of citizens to take charge of the subscription
sale of seats. There is also a Citizen Play Committee
that co-operates with the directors 7n the selection of
plays and a special committee for the selection of stand-

ard or unusual plays which the theatre presents once in
eight weeks.
"
The theatre was the gift, in 1892, of a Northampton
citizen, Mr. E. H. R. Lyman. Its affairs are governed
by a board of trustees, among whom there must always
be the Mayor of Northampton and the President of
Smith College. This board is
self-perpetuating and
serves without salary,
345
246 APPENDICES
"
For a number of years, productions of various sorts
were booked and financially the Academy had its ups and
downs with a varying kind of entertainment offered,
ranging from the cheapest of road companies to the best.
"
A feeling that Northampton was entitled to some-
thing better and that the theatre was not fulfilling the
ideals of the giver, gave the impetus to the movement
which resulted in a resident company in 1912.

"
The first directors of the company were Bertram
Harrison and Jessie Bonstelle of New York City. Both
Mr. Harrison and Miss Bonstelle have had long and
varied experience in the theatre managing, producing,
and acting and feeling that the establishment of one
Municipal Theatre would eventually lead to others and
thereby help to place the theatre in this country on a
firmer foundation as an institution, they were deeply
interested in this pioneer movement and assumed the
directorship with enthusiasm.

"
A resident company of much more than ordinary
ability presents a new play each week and only the best
of the traveling companies are booked in for an engage-
ment of one night, when the Players rest or visit other
towns. A wide variety of plays are given to please all
tastes and a new and adequate production arranged 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 activities of the
citizens of Northampton.
"
The interest awakened throughout the country by
Above, MUNICIPAL THEATRE, NORTHAMPTON, MASS.
Below, THE LITTLE THEATRE OF PLAINFIELD, N. H. :
A'Coantry
Theatre, remodeled from a town hall. (See Paê 214.)
APPENDICES 247
this local experiment is indicated by the number and

the nature of the inquiries which come to the theatre
from every section of the United States." .
The theatre has had many interesting visitors, includ-

ing the Mayor of San Francisco, who was considering
the idea for the West ; also Lady Gregory, Brieux, Gran-
villeBarker, Clayton Hamilton, Walter Pritchard Eaton,
Alfred Noyes, E. A. Thomas, Mrs. Richard Mansfield;
and Forbes-Robertson gave his final performance of
Hamlet on his first farewell tour at the Northampton
Theatre and said to the public in a curtain speech:
"
No matter what it costs you, do not give up your
Municipal Theatre."
The repertory of this Northampton Theatre for its
first five seasons, 1912-1917, will be found to contain
most of the more striking American drama of those

years, and some of the best of earlier seasons, including
The Great Divide, by Moody; Shore Acres, by Herne;
Captain Jinks, by Fitch; Broadway Jones, by Cohan;
Sherlock Holmes, by Gillette; My Lady's Dress, by
Knoblauch; The Girl of the Golden West and The Dar-
ling of the Gods, by Belasco; In the Van Guard, by Mrs.
Trask (first anywhere); other plays by
production
George Ade, George Middleton, and Percival Wilde
such popular successes as Brewster's Millions, Officer
666, The Rose of the Rancho, Under Fire, The Old
Homestead, The Squaw Man, It Pays to Advertise,
etc., etc.
Besides the annual Shakespeare production, among

notable plays by foreigners given were The School for :
248 APPENDICES
Scandal, by Sheridan; You Never Can Tell and The

Devil's Disciple,by Shaw; Trelawney of the Wells and
The Amazons, by Pinero; The Little Minister, by Barrie;
Milestones, by Arnold Bennett; The Morals of Marcus,
by Locke; Don, by Besier; The Importance of Being
Earnest, by Wilde; The Learned Ladies, by Moliere;
Sister Beatrice,by Maeterlinck, and an adaptation of
The Great Galleoto, by Echegaray.
; At the close of the season of 1916-17 Miss Bonstelle
and Mr. Harrison retired from the management, and
have been succeeded by Mr. Melville Burke, who had
good work to his credit at the St. Louis Little Theatre.
INDEX
Abbey Theatre, 8 All the Comforts of a Home
See also Irish Players (Gillette), 77
Aberdeen, Lord and Lady, 117 Allen, Margaret T., 108
Abraham and Isaac, 149, 152 Altruism (Ettlinger), 32, 35, 38
According to Darwin (P. Wilde), Amateur Comedy Club, 77-78
82 Amateurs, 77, 84, 91, 95, 116, 121,
Acting, 199, 201, 203 123-124
Great, 5 Professionals mingled with, 157
School, 37 Amazons, The (Pinero), 77, 119,
Adams, Maude, 203 248
Ade, George, 163, 247 Ambition (Sherry), 146
Marse Covington, 119 America Passes By (Andrews),
Nettie, 196 125, 133
Admirable Bashville, The American authors, 48, 51, 52
(Shaw), 178 Ames, Winthrop
After Burial (Perez), 60 Little Theatre, character, 25
Afternoon Theatre, London, 10 Little Theatre in New
York
Agassiz Theatre, 185 established, 15
Age of Reason, The (Dorrian), New Theatre, 228-231
3* .
Anatol (Schnitzler), 25, 88, 108,
Aglavaine and Selysette (Mae- 158
terlinck), 38 Ancey, George, 3
Akins, Zoe Andrews, Ann, 157
Magical City, The, 33, 38, 90 Andrews, Charlton
Papa, 157, 158 His Majesty the Fool, 100
Such a Charming Young Man, Andrews, Kenneth
82 America Passes By, 125, 133
Alchemist, The, 181 Andreyeff, Leonid, 3, 4
Aldis, Arthur, 121 Life of Man, The, 38
Aldis, Mary (Mrs. Arthur), 121- Love of One's Neighbor, 37
125 Sabine Woman, 7, 162
Case No. 34, 117 'Androcles and the Lion (Shaw),
Extreme Unction, 123, 125 232
Mrs. Pat and the Law, 125 Anglin, Margaret, 203
Plays for Small Stages, in, Another Interior (anon.), 29,
124 37
Temperament, 125 Another Way Out (Langner), 32,
Aleichem, Sholom, 65 35, 38
Alexander, Grace, 163 Antick, The (Mackaye), 38
Alexander, Mrs. John, 141 Antoine, Andre
Alibi, The (Osborne), 90 Experimentation, 3, 4
Alice in Wonderland (Gersten- Little Theatre experiment, 2,
berg), in, 157, 158 241, 242
249
250 INDEX
'Antony and Cleopatra (Shake- Baker, Elizabeth, 102
speare), 230 Baker, G. P., 183-189
"
Applause, 90, 144 Baker's Dozen," 183
Arabian Nights, 64, 67 Ballard, Frederick, 183
Archaologist and the Lady, The Baltimore, 169-176
(Mayhew), 146 Monument Square, 170
Ardmn (Rice), 137 West Center Street, 170
Ariane and Barbe Bleu (Maeter- Banbury Cross (Bruegger), 114
linck), 149 Bandbox Theatre, 28, 29, 30
Arkell, Reginald Bank Account, The (Brook), 68,
Columbine, 108 132
Arms and the Man (Shaw), 149 Banning, Margaret C.
Arrowmaker, The (Austin), 229, Her Sacred Duty, 141, 142
230 Barbarians (Wellman), 53
Art Guild Theatre, 147 Baring, Maurice
Art Theatres, 103, 156 Catherine Parr, 105, 107, 108,
Moscow, 5, 6 196
Munich, 12 Barker, Granville, 47, 105, 106,
Petrograd, 7 142, 151, 197, 226, 247
Arthur, Julia, 206 On Broadway, 232-233
Arthurs, Helen, 55 See also Housman, Laurence,
Artist, The (Mencken), 172, 173, and Granville Barker
176 Barn Theatre, 215
Artists' Guild, St. Louis, 136 Barnard College, 71
Arts and Crafts Theatre of De- Barnsdall, Aline, 156, 157, 158
troit, 147-152 Barrie, Sir J. M., 102
Scene from The Glittering Gate Little Minister, The, 248
(ill.), opp. 174 Pantaloon, 77
lArvold, A. G., 210, 211, 213 Rosalind, 119
'As You Do It (Kinne), 146 Twelve-Pound Look, 91, 142,
As You Like It (Shakespeare), 206
204 Will, The, 142
lAsch, Sholom Barren, Elwyn
Night, 63, 64 See Bates, Morgan, and Elwyn
fTith the Current, 58 Barron
Ashworth, G. B., 81 Barrymore, Ethel, 56
At Night All Cats Are Gray Bates, Morgan, and Elwyn Bar-
(Garland), 82 ron
At Slovsfty's (Hawkbridge), 132 Mountain Pink, A, 119
Augier, Emile. See Musset, Al- Bates, W. O., 159, 161
fred de, and Emile Augier Polly of Pogue's Run, 161, 163
Augustus Does His Bit (Shaw), Bayreuth of the United States, 93
178 Beach, Lewis, 183
Austin, Mary Clod, The, 33, 38
Arrowmaker, The, 229, 230 Return of the Prodigal, 192
'Awakening of Narradin, The Bear, The (Tchekoff), 38, 133
(Blum and Lieberman), 64 Beau of Bath, The (Mackay),
142, 179
Bachelor of Arts degree, 199 Bee in a Drone's Hive, A (Par-
Bahr, Hermann ker), 212
Poor Fool, The, 38 Beethoven (Fauchois), 231
INDEX 251
Before Breakfast (O'Neill), 52, Blum, Gustav, and Elias Lieber-

53 man
Belasco, David, 21, 39 Awakening of Narradin, The,
Darling of the Gods, The, 247 64
Girl of the Golden West, The, Bodenheim, Maxwell
247 Poet's Heart, 114
Bel-Geddes, Norman, 157 Bodenheim, Maxwell, and Wil-
Bell, Oliver, 172 liam Saphier
Beloit, Wis., 144 Brown, 113
Bennett, Arnold See also Hecht, Ben, and Max-
Good Woman, A, 87 well Bodenheim
What the Public Wants, 102 Bolton, Guy, and Tom Carl-
Bennett, Arnold, and Edward ton
Knoblauch Children, 38
Milestones, 142, 248 Bond, Milton
Berkeley Lyceum, 64 Kay at, 87
Berlin, Reinhardt's beginning of Bonheur, Lucien, 99
a Little Theatre, 10 Bonstelle, Jessie, 246, 248
Bernhardt, Sarah, 5, 237 Book of Tobit, The, 97
Bernstein, Florence Boomerang, The, 224
Yoku-Ki, 100 Bored (Mosher), 53
Besier, Rudolph Boston
Don, 229, 230, 248 Castle Square Theatre, 184,
Lady Patricia, 178 192, 225
Betrayal, The (Colum), 175, 176, Dartmouth Dramatic Associa-
203 tion in, 197
Between the Lines (Chorpenning), Jordan Hall, 190
192 Toy Theatre, 15, 123, 138, 186,
Between Two Lives (Burkett), 243
213 Boston Transcript, 123
Bierstadt, Edward. See Bur- Bottomly, Gordon
leigh, Louise, and Edward Crier by Night, 44
Bierstadt Boucicault
Bird with a Broken Wing, The, Kerry, 119
118 London Assurance, 77
Birthday of the Infanta (Wilde), Bound East for Cardiff (O'Neill),
43i 192 52, 53, 176, 178
Bispham, David, 5^6 Bourget, Paul
Bjornson, Bjornstjerne, 210 Which One?, 125
Leonore, 211 iBoyce, Neith
Newly Wedded Couple, The, Two Sons, The, 53
211 Winter's Night, 53
Black 'Ell (Maleson), 58, 60, 176 Boyce, Neith, and Hutchins Hap-
Blake, Catherine, 163 good
Blind, Eric, 57 Enemies, 53
Blind Wife, A (Morley), 146 Bracco, Robert
Blinn, Holbrook, 243 Don Pietro Caruso, 137
Bloch, Bertram, 177 Honorable Lover, The, 38
Blood Dark, 196 Night of Snow, 38
Blue Bird (Maeterlinck), 6, 229, Bracelet, The (Sutro), 206
230 Bramhall Playhouse, 26
252 INDEX
Branch, Anna H. Bubbles (Branch), 146
Bubbles, 146 Budapest, 13
Branch Road, A (Garland), 146 Budd, Caroline H!
Brand (Ibsen), 230 Only Girl in Sight, The, 191
Brand, Louise Buffalo
City Hall Central, 146 Drama League Players, 84-85
Breed, D. L. Lighthouse, 85
Purple Dream, The, 192 Bully, The (J. F. Goodman),
Bregg, C. M., 203 165
Brewster's Millions, 247 Burden of Life, The, 196
Bridgeport Players, 91 Burke, Melville, 135
Bridging the Chasm (Carlson), Burkett, Charles
212 Between Two Lives, 213
Brieux, Eugene, 2, 4, 102, 247 Burleigh, Louise, and Edward
Brighouse, Harold, 149 Bierstadt
Lonesome Like, 60, 142, 152 Punishment, 117, 119
Price of Coal, The, 58, 60 Burton, Richard, 203
Spring in Bloomsbury, 178 Bushido (Izumo), 32, 34, 36, 38
Bright Morning, A (Quintero), Scene (ill.), opp. 32
82 Bynner, Witter
Cf. Sunny Morning, A Little King, The, 196
Broadway Jones (Cohan), 247 By-Products (Patterson), 119, 124
Broken God, The (Flexner), 162
Brook, Howard Calderon, George
Bank Account, The, 68, 132 Little Stone House, The, 102
Brooke, Rupert California, 156-158
Lithuania, 98, 102, 163 Call of the Mountain, The
Brooklyn Repertory Theatre, 68 (Ranck), 191
Brookville, Penn., 166 Cambridge, Mass., 183, 186
Brown, Alice Campden Wonder, The (Mase-
Joint Owners in Spain, 108 field), 87, 102
Sugar House, The, 38 Canaan, Gilbert
Brown, Harrison, 162 James and John, 196
Brown (Bodenheim and Saphier), Candida (Shaw), 133
"3 Cape Cod, 46
Browne, Maurice, 102-108, 219 Captain Brassbound's Conversion
King of the Jews, The, 105, (Shaw), 55, 60, 234
107 Captain Jinks (Fitch), 247
Little Theatre established in Cariagiale, I. L.
Chicago, 15 Eye for an Eye, An, 137
Browning, Robert Carlson, Charles
In a Balcony, 206 Bridging the Chasm, 212
Pippa Passes, 60 Carlton, Tom. See Bolton, Guy,
Bruegger, Frederick and Tom Carlton
B anbury Cross, 114 Carmel, Mathew
Rumor, 114 Moving Picture Burlesque, A,
You Can't Get Away From It, 146
114 Carnegie Institute, Pittsburgh, 199
Brussels, 13 Carrier Pigeon, The (Phillpotts),
Bryant, Louise 142
Game, The, 53 Carter, Huntly, 150
INDEX 253
Case No. 34 (Aldis), 117 Cincinnati, 167
Castle Square Theatre (Boston), City Hall Central (Brand), 146
184, 192, 225 Civilization (E. Cook), 113
Catherine Parr (Baring), 105, Cleaning house, 206
107, 108, 196 Cleft Club Singing Orchestra, 70
Cathleen ni* Hoolihan
(Yeats), Cleveland Playhouse, 153-155
163, 178 Clinton Hall, 56
Centennial Cycle (Thompson and Clique Theatre, 172
others), 163 Cloak of Dionysus (Smith and
Century, The, 231 Viehman), 204
Century Opera Company, 231 Clod, The (Beach), 33, 38
Champney, Margaret Coburn, Eleanor H. A.
Nothing but Money, 191 Molly Make-Believe, 191
Chaplet of Pan, The (Stevens Cocaine (King), 52, 53
and Rice), 204 Cohan, G. M.
Charade, 214 Broadway Jones, 247
Cheney, Sheldon, quoted, 151 Colleagues (Libin), 63
Chicago College girls, 93
Fine Arts Building, 103 Color, u, 12, 107
Hull House Theatre, 115-119 Colum, Padraic, 202
Little Theatre of Chicago, 15, Betrayal, The, 175, 176, 203
103-109 Columbia University, 71, 181
. Little Theatres of, 103 et seq. Columbine (Arkell), 108
Workshop Theatre, 110-114, Comedy Club. See Amateur
220 Comedy Club
Chicane (London), 162 Comedy Theatre, New York, 34,35
Children, plays for, 118, 138, 214 Commercialism, i, 3, 14, 233
Children (Bolton and Carlton), Commins, Saxe
.38 Obituary, The, 53
Children of To-Morrow, The Community Players of Montclair,
(Moore-Clement), 114 N. J., 89
Children's Theatre, Chicago, 118 Community theatres, 81, 82, 122,
Chimes, The (McFadden), 132 211
Chinese Lantern, A (Housman), Comus (Milton), 102
X5r Connecticut Valley, 93
.
Chinese play, 97 Conroy, Frank, 73

Chopin, 7 Conscience (Taft), 158
Chorpenning, Charlotte B. Constant Lover, The (Hankin),
Between the Lines, 192 108, 151,. 152
Christening Robe, The (Esta- Contemporaries (Steele), 175, 176
brook), 178 Contrast, The (Tyler), 102
Christian, Rudolph, 99 Convex Mirror Theatre of Petro-
Christmas fantasy at Prairie grad, 7
Playhouse, 132 Con Way, W. O., 163
Christmas Guest, The (Mackay), Cook, Elisha
118 Civilization, 113
Christmas Mystery Play, 106- No Sabe, 114
107, 109 Skeletons Out of the Closet, 114
Christodora House, 39, 40 Cook, G. C., and Susan Glaspell
Chynoweth, Phillips Suppressed Desires, 52, 53, 98,
Orange Blossom, 146 152, 163, 174, '75, 176, 178
.254 INDEX
Copeau, Jacques, 226 Dancing Dolls (K. S. Goodman),
Theatre du Vieux Colombier, 203
13, H Dargan, Olive T.
Copenhagen, 13 Shepherd, The, 56, 60
Coppee, Frangois Dark Lady of the Sonnets, The
Paternoster, 142 (Shaw), 142, 162
Violin Maker of Cremona, The, Darling of the Gods, The (Be-
203 lasco), .247
Coquelin, 5 Dartmouth Dramatic Association,
Cordova, Rienzi de. See Gersten- 193, i97
berg, Alice, and Rienzi de Dartmouth Laboratory Theatre,
Cordova 193
Corse, Mary Plays, 196
Magnet, The, 114 Policy, 193-195
Cosmopolitanism, 175 Popular shows, 197
Cost of maintenance, 217-222 Seating and prices, 195
Costumes, 43, 49, 190, 200 Women's parts, 197-198
Cottage in the Air, The (Knob- Daughter of Heaven, The, 231
lauch), 230 Davenport, Butler, 26
Counsel Retained (Mackay), 179 David, Chayim, 64
Country problem plays, 212 David, King, 65
Country theatres, 209-215 Davis, R. H.
Court Favor (Kimball), 191 Miss Civilization, 212
Courteline, Georges, and Bea- Dawn (P. Wilde), 88, 162, 166
trice de Holthoir Dead Soul (Simons), 146
Private Account, A, 38 Dean, Basil, 9
Cracow, Little Theatre, 6, 7 Dear Departed, The (Houghton),
Crafton, J. A., 126, 127, 128, 130, 133, 142
132 Death A Discussion (Wood-
Stranger Star, The, 133 ruff), 132
Crafton, J. A., Abby Merchant, Death of Tintagiles, The (Mae-
and Mark Reed terlinck), 38
Sea Pride, 132 Debussy, 60, 102
Craig, Gordon, 4, 150, 151, 161 Decorative drama, n, 12
Screens, 6 Degree for dramatic work, 199
Craig prize, 184, 192 Dell, Floyd
Creditors (Strindberg), 108 King Arthur's Socks, 53
Crier by Night (Bottomly), 44 Long Time Ago, A, 53
Criley, T. M., 164 Delphine Declines (Merrick), 108
Crispin (Le Sage), 82 Deluded Dragon, The (Edger-
Critic, The (Sheridan), 77 ton and Van Colkenburg),
Criticisms, 96 109
Suggestions for, 187 Denver, Colo., 243
Croker, Bosworth Detroit
Last Straw, The, 38 Arts and Crafts Society, 147
Crowell, R. S. Arts and Crafts Theatre, 147-
Valley, The, 146 152
"
Cube screens," 150 Deutsches Theatre, Berlin, n
Curtain calls, 144 Devil's Disciple, The (Shaw),
119, 248
Dad (Parry), 132, 162 Devonshire Players, 9
INDEX 255
Dickey, Paul. See Goddard, Drone, The (Mayne), 119

Charles, and Paul Dickey Drums of Oudh (Strong), 78
Dickinson, T. H., 144 Dublin Castle, 117
In Hospital, 146 Dublin, National Theatre, 202
Discontented Daffodils, The, 59 Dudley, Robert, 163
Dix, Beulah M., 102 Duluth, Minn.
Dobson, Austin, 215 Little Theatre, 139-142
Doctor in Spite of Himself Dunsany, Lord, 100, 149
(Moliere), 149, 152, 178 Glittering Gate, 28, 58, 60, 90,
Doctor's Dilemma, The (Shaw), 129, 132, 142, 151, 162
102, 232 Gods of the Mountain, The, 43
Dohner, Donald, 162 Golden Doom, The, 43, 78
Dollar, The (Pinski), 53 King Argimines and the Un-
Dolly Reforming Herself (Jones), known Warrior, 43
1 02 Lost Silk Hat, The, 90, 108, 142,
Don (Besier), 229, 230, 248 151, 163
Don Pietro Caruso (Bracco), Night at an Inn, A, 58, 59, 60,
137 196
Dorrian, Cecil Queen's Enemies, The, 59, 60
Age of Reason, The, 38 Tents of the Arabs, 102, 151,
Double Miracle, The (Garland), 203, 206
176 Duse, Eleanora, 5
Down, Oliphant Dust of the Road (K. S. Good-
Maker of Dreams, 60, 98, 108, man), 146
176
142, Duty (O'Brien), 88, 163
Dowson, Ernest, 93 Dwelling-house Theatre, 121
Pierrot of the Minute, 86, 97, Dymow, Ossip
98, 124, 132 Nju, 156, 157, 158
Doyle, Conan
Speckled Band, 196 Early Morning (Perez), 60
Drama Earth, The (Pagan), 243
Children and, 118 East Broadway, 63
Clearing house, 206 East Side, 63, 66
Love of, 94 East-West-Players, 61-66
Power, 127 Eaton, W. P., 247
Promoting, 135 Echegaray
Static, 122 Great Galleoto, The, 248
Drama League, 84, 86, 91, 129, Economies, 221
139, 140, 160, 179 Edge of the World, The (Gil-
Drama League Players of Buffalo, mer), 132
74-75 Edgerton, Harriet, and Ellen Van
Drama League Players of Wash- Colkenburg
ington, D. C, 177-178 Deluded Dragon, The, 109
Drama Quarterly, 144 Edison, Charles, 244
Dramatic clubs, 181 Educated (Winnek), 191
Draped stage, 140, 221 Educational Alliance Auditorium,
Dregs (Hecht), 113 63
Dreiser, Theodore, 161 Edwards, Charles, 164
Laughing Gas, 161, 163 Egan, F. C.
Plays of the Natural and the Play in One Word, A, 88
Supernatural, 161 Elijah, 64
256 INDEX
Eliot, S. A., Jr., 159, 162 Eye for an Eye, An (Cariagiale),
Polyxena, 162 137
Elizabethan Stage Society, Lon- Eyvind of the Hills (Sigurjons-
don, 202 son), 190, 192
Ellis, Mrs. Havelock Rehearsal scene (ill.), opp.
Mothers, The, 108 190
Pixy, The, 108
Subjection of Keziah, The, 58, Fabre, Camille, 3
60, 1 08 Pagan, J. D.
Ellsner, Edward, 206 Earth, The, 234
Elysee des Beaux Arts, 2, 3 Faguet, Emile, 3
Enemies (Boyce and Hapgood), Failures, 243-244
53 Fairbanks, S. W.
Enemy of the People, An (Ibsen), Other Voice, The, 125, 192
60, 212 Faith Healer, The (Moody), 178
Engaged (Gilbert), 77, 115, 119 Falk, August, 13
England, Little Theatre in, 7 et Fan and Two Candlesticks, A
seq. (MacMillan), 43
English 47, 183 Fancy Free (Houghton), 86, 142
Erie, Penn., 166 Far- A way Princess, The (Suder-
Ervine, St.
John, 115 mann), 142
Jane Clegg, 178 Fargo, N. Dak., 211-212
Magnanimous Lover, 119 Farm morality play, 213
Mixed Marriage, 119 Fauchois
Estabrook, Anne L. Beethoven, 231
Christening Robe, The, 178 Feast of the Holy Innocents
Estoc, Pol d'. See Valcross, W., (Ilsley), 146
and Pol d'Estoc Fenn, Frederick, and Richard
Ettlinger, Karl Pryce
Altruism, 32, 35, 38 'Op-o'-Me-Thumb, 102, 142,
Eugenically Speaking (Good- 212
man), 29, 37, 132 Fernald, C. B.
Euripides Married Woman, The, 60
Hecuba, 162 Festivals at the Neighborhood
Iphigenia in Tauris, 203 Playhouse, 57-59
Medea, 108 Feuillet, Octave, 29
Trojan Women, The, 105-106, Village, The, 124
1 08 Fifth Commandment, The
Everyman (Sterling), 156, 158 (Houghton), 108
Evrienof, Nicholas Finch School, 206
Merry Death, The, 38, 173, Finger of God, The (P. Wilde),
176 146
Theatre of the Soul, The, 149, Fire and Water (White), 38
176 Fires of St. John, The (Suder-
Ewing, Margaret mann), 60
Reflections, 137 Fitch,Clyde
Experimental theatres, 103, no Captain Jinks, 247
Experimentation, i, 2, 3, 4 Flame Man, The (Walker), 44
Reinhardt's, n Flexner, Hortense
Extreme Unction (Aldis), 123, Broken God, The, 162
125 Voices, 44
INDEX 257
Florist Shop, The (Hawkbridge), Game, The (Bryant), 53
84, 162 Game of Chess, The (K. S. Good-
Foerster,Meyer man), 162
Old Heidelberg, 230 Gammer Gurton's Needle, 43
Fog (O'Neill), 53 Gaol Gate, The (Lady Gregory),
Folk Theatre, 117 206
Foote, Samuel Garden of Allah, The, 231, 237
Liar, The, 119 Garden Theatre, New York, 64,
Forbes-Robertson, Sir Johnston, 69
247 Garland, Hamlin
Forbidden Fruit (Smith), 29, 31, Branch Road, A, 146
38 Garland, Robert
"Foreign Policy," 94 At Night All Cats Are Gray,
Four Flushers, The (Kinkead), 82
124 Double Miracle, The, 176
France, Anatole George, Grace, 236
Man Who Married a Dumb Repertory season, 234-235
Wife, The, 232 German companies, 226
France, Little Theatre in, 2 et Germany, 244
seq. Little Theatre in, 10 et
seq.
Frank, Florence K. Gerstenberg, Alice
Jael, 108 Alice in Wonderland, in
Return of Proserpine, The, 158 Overtones, 33, 38, in, 162
Free Folk Stage of Germany, 244 Pot-Boiler, The, 114, 206
Free Theatre, 92, 93, 96, 244 Gerstenberg, Alice, and Rienzi
Freedom (Reed), 53 de Cordova
Freybe, Carl War Game, The, 113
Leave of Absence, 196 Ghosts (Ibsen), 38, 60
Frog Prince, The, 118 Giacosa
Fuchs, George, 12 Sacred Ground, 125
Gibson, Wilfred W.
Gale, Mrs. Lyman, 15 Womenkind, 60, 108
Gale, Zona Gift of the Fairies, The, 60
Neighbors, The, 84, 85, 119, Gilbert, W. S.
145, 146, 202, 204 Engaged, 77, 115, 119
Galesburg, 111. Palace of Truth, The, 119
Drama League Center, 129 Pygmalion and Galatea, 119
Little Theatre, 126-133 Sweethearts, 68, 77
Prairie Players, 128, 220 Gillette, Wm.
Prairie Playhouse (ill.), opp. All the Comforts of a Home, 77
126 Held by the Enemy, 77
White House, 127 Sherlock Holmes, 247
White House Saloon (ill.), opp. Gilmer, A. H.
126 Edge of the World, The, 132
Galsworthy, John, 93, 115 Gilmore, W. H., 206
Joy, 137 Girl of the Golden West, The
Justice, 1 1 8, 119 (Belasco), 247
Little Man, The, 98 Glasgow Literary Theatre, 9
Pigeon, The, 119, 129, 132 Glaspell, Susan, 52
Silver Box, The, 56, 60, 119 People, The, 53, 149, 178
Strife, 230 Trifles, 32, 35, 38, 152
25 8 INDEX
See also Cook, G. C., and Susan Grand Street, New York, 54
Glaspell Neighborhood Playhouse (ill.),
Glittering Gate (Lord Dunsany), opp. 56.
28, 58, 60, 90, 129, 132, 142, Grande Guinol, Paris, 13
151, 162 Grania and Dervogillia (Lady
Scene (ill.), PP- *74 Gregory), 119
Glory of the Morning (Leonard), Granich, Irwin
145, 146, 204 Ivan's Home-Coming, 53
Goddard, Charles, and Paul Granny Maumee (Torrence), 69
Dickey Great Catherine (Shaw), 59, 60,
Man from the Sea, The, 196 116, 119
Gods of the Mountain, The Great Divide, The (Moody), 134,
(Dunsany), 43, 77 247
Goethe, n Great Galleoto, The (Eche-
Golden Apple, The (Lady Greg- garay), 248
ory), 137 Greater Than the La<w (Moffat),
Golden Doom, The (Dunsany), 78
43, 78 Greek Masque, 204
Scene (ill.), opp. 44 Green Coat, The (Musset and
Golden Goose, The, 83, 118 Augier), 142
Good Woman, A (Bennett), 87 Greenwich Village Players, 52
Good Woman, The (Middleton), Greenwich Village Theatre
98 Playhouse (with ill.), 73-74
Goodman, Edward, 36 Prospectus, 75
Eugenically Speaking, 29, 37, Greet, Ben, 158
132 Gregory, Lady, 4, 102, 118, 142,
Saviors, 29, 31, 38 161, 196, 247
Goodman, James F. Gaol Gate, The, 206
Bully, The, 165 Golden Apple, The, 137
Goodman, Jules Eckert, 183 Grania and Dervogillia, 119
Goodman, K. S., in Rising of the Moon, 119, 163
Dancing Dolls, 203 Spreading the News, 119, 142,
Dust of the Road, 146 163
Game of Chess, The, 162 Traveling Man, The, 211
Man Can Only Do His Best, A t Workhouse Ward, The, 88, 119,
"3 142, 196, 2ii
Red Flag, The, 113 Grein, J. T., 221
See also Hecht, Ben, and K. S. Independent Theatre in Lon-
Goodman don, 7
Goodman, K. S., and Ben Hecht Griffes, C. T., 60
Hero of Santa Maria, The, 38, Griswold, Grace, 205, 206
"3 Groove, .The (Middleton), 162
Poem of David, The, 117 Grundy, Sydney, 102
Goodman, K. S., and T. W. Guest directors, 202
Stevens
Ryland, 60, 173, 176 Hagedorn, Hermann, 230
Goose-Girl, The, 60 Hambridge, Ruth, 81
Gooseherd and the Goblin, The Hamilton, Clayton, 72, 247
(Mackay), 118 Quoted, 97
Gorky, Maxim Hamlen, J. C.
Lower Depths, 6 Waldies, The, 60
INDEX 259
Hamlet (Shakespeare), 6, 223, Hecht, Ben, and Maxwell Boden-
247 heim
Hankin, St. John, 100, 149 Mrs. Margaret Calhoun, 114
Constant Lover, The, 108, 151, Hecht, Ben, and K. S. Goodman
152 Home-Coming, The, 113, 149
Hanover, N. H., 197 Idyll of the Shops, An, 113
Hapgood, Emilie, 69 Wonder Hat, The, 113
Hapgood, Hutchins. See Boyce, Hecuba (Euripides), 162
Neith, and Hutchins Hap- Hedda Gabler (Ibsen), 108
good Held by the Enemy (Gillette),
Happy Prince, The (Wilde), 77
108 Helena's Husband (Moeller), 33,
Harcourt, Cyril 38, 142, 150, 152, 165
Pair of Silk Stockings, A, 25 Henderson, W. J., 230
Hardy, Thomas, 9 Henry Street Settlement, 55, 56
Harlequin Players of Kansas Her Husband's Wife (Thomas),
City, Kan., 164-165 132, 142
Harles, Victor, 138 Her Sacred Duty (Banning), 141,
Harrison, Bertram, 246, 248 142
Hart, Howard, 214 Herne, J. A.
Harvard Dramatic Club, 95, Shore Acres, 247
184 Hero of Santa Maria, The,
Harvard Dramatic Library, 184 (Goodman and Hecht), 38,
Harvard 47 Workshop Theatre 113
Character, 183, 184 Hiawatha, 56, 59
Criticisms, 187 Hichens, R. S., and C. G. Len-
Method, 185-188 nox
Origin, 183, 185 Vanity Fair, 231
Plays produced, 191-192 Hirshbein, Perez, 65
Policy and plays, 189-190 Stranger, The, 63, 64, 65
Rehearsal of Eyvind of the His Majesty the Fool (Andrews),
Hills (ill.) OPP- I 9
i
100
Scenery, etc.,150, 190 His Women Folk (Merchant), 191
Summer course, 185, 191 Hofmansthal, Hugo von, n
Harvard University, 181 Hollis, Me., 215
Laboratory Theatre, 183-192 Holly and Mistletoe (Pember-
Hastings, MacDonald ton), 142
New Sin, The, 196 Holte, Strindberg's project at, 13
Haunted Chamber, The(O'Toole), Holthoir, Beatrice de. See Cour-
207 ^
Georges, and Beatrice
teline,
Hawkbridge, Winifred de Holthoir
At Slovsky's, 84, 132 Home-Coming, The (Hecht and
Florist Shop, The, 84, 132, 162 Goodman), 113, 149
Price of Orchids, The, 165 Home Sweet Home (Robinson),
Haynes, Mirma G., 206 190, 191
Hazel Kirke (Mackaye), 119 Honorable Lover, The (Bracco),
He and She (Perez), 63 38
Hecht, Ben, in Hope, Anthony
Dregs, 113 Philosopher of the Apple
See also Goodman, K. S., and Orchard, 142
"
Ben Hecht Horizont," 55, 150
260 INDEX
Horniman, Miss, 8, 9 Hedda Gabler, to8
Houghton, Stanley, 102 John Gajbriel Borkman, 60
Dear Departed, The, 133, 142 Pillars of Society, 119
Fancy Free, 86, 142 Rosmersholm, 108
Fifth Commandment, The, 108 Icelandic Folk Play, 212
Master of the House, The, 142 Icelandic play, 190, 192
Hour Glass, The (Yeats), 145 Ideal Husband, The (Wilde),
House Next Door, The (Man- 1 02
ners), 102 Idyll of the Shops, An (Hecht and

House of Cards, A (P. Wilde), Goodman), 113
82, 88, 166 Illinois life, 130
Housman, Laurence Ilsley, Marshal
Chinese Lantern, A, 151 Feast of the Holy Innocents, 146
Housman, Laurence, and Gran- In a Vestibule, 146
ville Barker Immigration, 66
Prunella, 25, 118 Impertinence of the Creature, The
How He Lied to Her Husband (Lennox), 142
(Shaw), 77, 119, 142, 162 Importance of Being Earnest, The
How Very Shocking (Thompson), (Wilde), 80, 119, 163, 204,
114 248
Howard, Bronson In a Balcony (Browning), 206
Old Letters, 119 In a Vestibule (Ilsley), 146
One of Our Girls, 77 In April (Stokes), 31, 38
Hubbard, Louise In for Himself (Reed), 191
Lullaby, The, 114 In Hospital (Dickinson), 146
Hubert, Jean, 149 In the Pasha's Garden (F. Shaw),
Hudson, Holland 124
Shepherd in the Distance, The, In the Vanguard (Trask), 247
29, 38, 165 Inca of Perusalem, 59, 60
Hull House Players, 103 Independent Theatre, London, 7,
Finances, 117 221
Organization, 116 Indiana life, 161
Plays, 117, 118 Indianapolis, Little Theatre, 159-
Repertory, 119 163
Reputation and tours, 117 Infanta's Birthday, The (Wilde),
Hull House Theatre, 54, 103 See Birthday of the Infanta
Activities, 118, 119 Interior (Maeterlinck), 28, 29,
Auditorium (ill.), opP- *o6 37
Character, 115 Interludes, 44
Children, 118 Intimate Theatre at Stockholm,
Hume, Sam, 147, 148, 150, 151, 13, 26
167 Intruder, The (Maeterlinck),
Romance of the Rose, The, 152, 152, 196
189, 191 Iphigenia in Tauris (Euripides),
Humperdinck, Engelhart, 60 203
Irish Dramatists, 4
Ibsen, 4, n, 100, 115 Irish Players, 8, 9, 14, 19, 62,
Brand, 230 93, 117, 188
Enemy of the Peoplet An t 60, Irish Plays, 118, 202
212 Iron Crosst The (Reizenstein),
Ghosts, 38, 60 71
INDEX 261
Irving, Henry, 5, 224 Kairn of Koridwen, The, 57, 60

Irving Place Theatre, New York, Kammerspielhaus, Berlin, n
99, 226 Kansas City, 164-165
// Pays to Advertise, 247 Kansas life, 165
Itow, Michio, 34 Kay at (Bond), 87
Ivan's Home-Coming (Gra- Kemp, Harry
nich), 53 Prodigal Son, The, 53
Ivon the Daring (McDonald), Kennedy, C. R.
191 Terrible Meek, The, 132
Izumo, Takeda Kensal, N. Dak., 213
Bushido, 32, 34, 36, 38 Kenyon, Clark, 115
Kindling, 118, 119
Jacobs, W. W. Kerry (Boucicault), 119
Monkey's Paw, The, 142 Ketchup curtain, 79, 80
Jael (Frank), 108 Killing Triangle, A (anon.), 162
James and John (Canaan), 196 Kimball, Astrid
Jane Clegg (Ervine), 178 Court Favor, 191
Janssen, Weirs Kindling (Kenyon), n8, 119
Witch, The, 230 King, Pendleton
Japan, 32, 43, 241, 242 Cocaine, 52, 53
Jay, Beulah E., 99 King Argimines and the Un-
Jephtha's Daughter, 57, 58, 59 known Warrior (Dunsany),
Jerome, J. K. 43
Maister of Woodbarrow, 77 King Arthur's Socks (Dell), 53
Jewel Bow, The, 60 King of Camarand, 83
Jewish life, 63-67 King of the Black Isles, The
Jewish players, 61 (Yarrow), 100
Jewish plays and festivals at the King of the Jews (Browne), 105,
Neighborhood Playhouse, 57, 107
58 Kingston, Gertrude, 55, 56, 59
John Gabriel Borkman (Ibsen), Little Theatre, London, 10, 26
60 Kinkead, Cleaves, 183
Johnson, C. R., 105, 107, 121 Four Plus hers, The, 124
Johnson, Martyn Kinne, I. B.
Mr. and Mrs. P. Roe, 108, 117 As You Do It, 146
Johnson, Rosamond, 70 Kisses of Marjorie, The (Tark-
Joined Together (Nordfeldt), 53 ington), 162
Joint Owners in Spain (Brown), Knickerbocker Theatre building,
108 New York, 205
Jones, H. A., 100 Knoblauch, Edward, 183
Dolly Reforming Herself, 102 Cottage in the Air, 230
Liars, The, 234 My Lady's Dress, 247
Jones, R. E., 28, 47, 69, 195, 232 See also Bennett, Arnold, and
Jonson,Ben Edward Knoblauch
Sad Shepherd, 119
115, Kommisarzhevsky, Vyera, 7
Jordan Hall, Boston, 190 Kreymbourg, Alfred
Joy (Galsworthy), 137 Lima Beans, 53
Just Livin* (Sherry), 146
Justice (Galsworthy), n8, 119 Laboratory Theatre of the Car-
negie Institute at Pittsburgh
Kahn, O. H., 231 Acting, 199, 201, 203
262 INDEX
Auditorium (ill.), opp. 218 Leonard, W. E., 144
Plays produced, 202-204 Glory of the Morning, 145, 146,
Stage and scenery, 199-200 204
Work and degree, 199 Leonore (Bjornson), 211
Laboratory theatres, 181-182 Le Sage
Harvard, 183-192 Crispin, 82
Laceby, E. W., 139 Lewisohn, Alice, 54
Lady of the Weeping Willow Lewisohn, Irene, 54
Tree (Walker), 43 Liar, The (Foote), 119
Lady Patricia (Besier), 178 Liars, The (Jones), 234
Lady Winder mere's Fan (Wilde), Libin, Zalmon
88 Colleagues, 63
Lake Forest, 111., 121 Licensed (Lawrence), 28, 29, 37
Lake Forest Players, 122-125 Lieberman, Elias, 64
Lake Forest Playhouse, 121-125 Lieberman, Elias. See Blum,
Land of Heart's Desire, The Gustav, and Elias Lieber-
(Yeats), 203 man
Lange, J. W. Life of Man, The (Andreyeff), 38
Prairie Wolf, The, 212 Scene (ill.), Frontispiece
Langner, Lawrence Light of Decency, The (Mercein),
Another Way Out, 32, 35, 38 146
See also Meyer, Josephine A., Lillien, 63
and Lawrence Langner Lima Beans (Kreymbourg), 53
Larsen, C. P., 112, 116 Lina Amuses Herself (Merrill),
Last Straw, The (Crocker), 38 191
Last Visit, The (Sudermann), Lind, Jenny, 92
142 Literary theatres in Glasgow and
Laughing Gas (Dreiser), 161, Liverpool, 9
163 Literature (Schnitzler), 38
Scene (ill.), opp. 212 Lithuania (Brooke), 98, 102, 163
Lawrence, Basil Little Art Theatre of California,
Licensed, 28, 29, 37 156-158
Lawrence, H. D. Little Country Theatre of Fargo,
Mrs. Holy rod, 158 N. Dak., 211-212
Leader, The (O'Connor), 178 Scene from The Prairie Wolf
Leadin' Road to Donegal, The (ill.), opp. 212
(MacManus), 119 Little Country Theatres, 209-215
Learned Ladies, The (Moliere), Little King, The (Bynner), 196
102, 248 Little Man, The (Galsworthy),
Leave of Absence (Freybe), 196 98
Lee, Charles Little Minister, The (Barrie),
Mr. Sampson, 119 248
Lemaitre, Jules Little Plainfield Theatre, 214
Prophecy, 2 Little Playhouse of
St. Louis, 134-
Lemoyne, Sarah C., 55 138

Lennox, C. G. Little Rural Theatre groups of
Impertinence of the Creature, England, 9
The, 142 Little Stone House, The (Cal-
See also Hichens, R. S., and C. deron), 102
G. Lennox Little Theatre of Brookville,
Lenox Theatre, New York, 206 Penn., 166
INDEX 263
Little Theatre of Chicago Kingston's (Gertrude) Little
Description, 104 Theatre, 10,26
Foundation, 103 London, Jack
Plays and players, 105 Chicane, 162
Repertory, 108-109 London Assurance (Boucicault),
Scene from The Sermon on the 77
Mount (ill.)j opp. 106 Lonesome Like (Brighouse), 60,
Scenery, costumes, 107 142, 152
Trojan Women, 105-107 Long run system, 224-225
Little Theatre of Duluth, 139- Long Time Ago, A (Dell), 53
142 Los Angeles
Little Theatre of Erie, Penn., 166 Little Theatre, 156-158
Little Theatre of Indianapolis, Morosco's stock company, 225
159-163 Lost Silk Hat, The (Lord Dun-
Scene from Laughing Gas sany), 90, 108, 142, 151, 163
(ill.), opp. 212 Louisville, Ky., 180
Little Theatre of Kansas City, Love of One's Neighbor (An-
Kan., 164-165 dreyeff), 37
Little Theatre of Los Angeles, Lover's Luck (Riche), 38
156-158 Lower Depths (Gorky), 6
Little Theatre of Minneapolis, Lower Road, The (Mather),
167 133
Little Theatre of Philadelphia, Lowrey, Edward
99-100 Victims, 119
LittleTheatres Lullaby, The (Hubbard), 114
Character and number in the Lyman, E. H. R., 245
United States, 15
Characteristic, i McCallum, Geo. B., 92, 95, 96
Contribution to the drama, 4 McCallum Theatre of Northamp-
Cost of maintaining, 217-222 ton, Mass.
Failures, 243-244 Admission, 96
"
Ideal, 5 Foreign policy," 94
Inception, 2 Free, 92, 93
List in United States, 22-23 Location, 92, 95
New York City, 25 et seq. Plays and settings, 97
Repertory systems and, 236 Repertory, 98
Rise, i et seq. McDonald, Anna S., 58
Types in the United States, 16 Ivon the Daring, 191
LittleThimble Theatre, 244 Macdougal Street, New York, 47,
Littmann theatres, 12 48, 51
Liverpool, Dean's Literary Thea- McDowell Fellowship, 184
tre, 9 M'Evoy's Devonshire Players, 9
Liz, the Mother (anon.), 230 McEwen, Katherine, 151
Locke, W. J. McFadden, Elizabeth
Morals of Marcus, The, 248 Chimes, The, 132
Locked Chest, The (Masefield), Why the Chimes Rang, 189,
88 191
Locker, Robert, 29 Mackay, Constance D'Arcy
London Beau of Bath, The, 142, 179
Afternoon Theatre, 10 Christmas Guest, The, n8
Independent Theatre, 7 Counsel Retained, 179
264 INDEX
Gooseherd and the Goblin, The, Man, The (Taft), 114
118 Man Can Only Do His Best, A
Nimble Wit and Fingerkin, 118 (K. Goodman), 113
S.
Mackay-Cantell, Lilia, 59 Man from the Sea, The (God-

Mackaye, Percy dard and Dickey), 196
Antick, The, 38 Man in the Stalls (Sutro), 196
Sam Average, ziz Man of Destiny, The (Shaw),
Tomorrow, 100 119
Mackaye, Steele Man Who Married a Dumb Wife,
Hazel Kirke, 119 The (France), 232
McKinley County, N. Dak., 213 Man Who Married the Moon,
MacManus, Seumas The (Markham), 146
Leadin' Road to Donegal, The, Manacles (Moderwell), 119
119 Manchester school, 4, 9
MacMillan, Mary Manchester players, 8, 9
Fan and Two Candlesticks, A, Manners, J. H.
43 House Next Door, The, 102
Rose, The, 132 Mansfield, Richard, 5, 224
McNaull Aletha V., 163 Mansfield, Mrs. Richard, 247
MacNichol, Kenneth Mapes, Victor, loi
Pan, 53 March of Truth, The (Searle),
Madison, Wis., 144 133
Madison Square outdoor per- Marionette Club, Chicago, 118
formance, 40 Marionette comedy, 82
Maeterlinck, Maurice, n, 93, 100 Markham, Charlotte
Aglavaine and Selysette, 38 Man Who Married the Moon,
Ariane and Barbe Bleu, 149 The, 146
Blue Bird, 6, 229, 230 Marks, Jeannette, 9
Death of Tintagiles, The, 38 Merry Merry Cuckoo, The,
Interior, 28, 29, 37 167
Intruder, The, 152, 196 Welsh Honeymoon, 167
Mary Magdalene, 231 Marlowe, Julia, 95, 224
Miracle of St. Anthony, 29, 31, Marriage Has Been Arranged,
38, 176 A (Sutro), 87, 206
Sister Beatrice, 223, 229, 230, Marriage Proposal, A (Tche-
248 kpff), 58, 60,
88
Magical City, The (Akins), 33, Married Woman, The (Fernald),
60
3.8, 90
The (Pinero), 77
Magistrate, Marse Covington (Ade), 119
Magnanimous Lover (Ervine), Marsh, Marie L.
119 Sno<w- White, 113
Magnet, The (Corse), 114 Tonsils, 114
Maister of Woodbarrow (Je- Mary Magdalene (Maeterlinck),
rome), 77 231
Maitre Patelin, 191 Masefield, John, 115
Cf. Pierre Patelin Campden Wonder, The, 87, 102
Major Barbara (Shaw), 234 Locked Chest, The, 88
Maker of Dreams, The (Down), Tragedy of Nan, The, 119,
60, 98, 108, 142, 176 178
Maleson, Myles Massey, Dorothea
Black 'Ell, 58, 60, 176 Rurales, Las, 146
INDEX 265
Massey, Edward Groove, The, 162

Plots and Playwrights, 34, 38, Tradition, 124, 146
192 Midsummer Night's Dream
Master of the House, The (Shakespeare), 118, 232
(Hough ton), 142 Milestones (Bennett and Knob-
Master Pierre Patelin, 102. Cf. lauch), 142, 248
Maitre Patelin; Pierre Pate- Miller, Henry, quoted, 228
lin Milton, John
Mather, Charles Comus, 1 02
Lower Road, The, 133 Milwaukee, 144
Matsuo, 32 Minneapolis, 167
Matthews, Brander, 72 Minnesota University, 167
Matthison, Edith W., 206, 229 Miracle of St. Anthony (Maeter-
Mayhew, Mabel linck), 29, 31, 38, 176
Archaeologist and the Lady, Miracle plays, 102, 149, 162
The, 146 Miss Civilization (Davis), 212
Mayne, Rutherford Mitchell, Langdon
Drone, The, 119 New York Idea, The, 234
Red Turf, 60 Mixed Marriage (Ervine), 119
Mazeppa, 223 Moderwell, H. K.
Medea (Euripides), 108 Manacles, 119
Mediaeval theatres, 241-242 Moeller, Philip
Medicine Show, The (Walker), Helena's Husband, 33, 38, 142,
44 150, 152, 165
Mencken, H. L. Roadhouse in Arden, The, 38
Artist,The, 172, 173, 176 Sisters of Suzanna, 38
Mercein, Charles Two Blind Beggars and One
Light of Decency, The, 146 Less Blind, 29, 38
Merchant, Abby, 126, 128, 129 Moffat, Cleveland
His Women Folk, 191 Greater Than the Law, 78
See also Crafton, J. R., Abby Moliere
Merchant, and Mark Reed Doctor in Spite of Himself,
Merrick, Leonard 149, 152, 178
Delphine Declines, 108 Learned Ladies, The, 102, 248
Merrill, W. F. Sganarelle, 38
Lina Amuses Herself, 191 Tartuffe, 202, 204
Merry Death, The (Evrienof), Molly Make-Believe (Coburn),
38,173, 176 191
Scene (ilL), opp. 32 Monkey's Paw, The (Jacobs), 142
Merry Merry Cuckoo, The Montclair, N. J., Community
(Marks), 167 Players, 89
Merry Wives of Windsor, The, Monvel, Boutet de, 189
230 Moody, W. V.
Meyer, Josephine A., and Law- Faith Healer, The, 178
rence Langner Great Divide, The, 133, 247
Red Cloak, The, 38 Moon Lady, The, 42
Michaelis Moondown (Reed), 38, 142
Son of the People, A, 231 Moore, Lou W., 108
Middle West, 131 Moore-Clement, Maude
Middleton, George, 102, 247 Children of To-morrow, The,
Good Woman, The, 98 114
266 INDEX
Morality play, 102 Nationalism
Morals of Marcus, The (Locke), British theatres, 9
248 Irish Players, 8
Morgan, Agnes, 55 Naturalism, 3, 5, 6
Morley, Walter Negro Players, 69-70
Blind Wife, A, 146 Neighborhood Players of New-
Rich Poor Man, 146 ark, N. 90J.,
Morningside Players, 71-72 Neighborhood Playhouse, Grand
Morosco, Oliver, 225 Street, New York, 54
Moscow Art Theatre, 5, 6 Equipment, 55
Mosher, J. C. Exterior views (ill.), opp. 56
Bored, 53 Great artists, 56
Sauce for the Emperor, 53, 88 Great one-act play, 58
Mothers, The (Ellis), 108 History, 55 et seq.
Mountain Pink, A (Bates and Purpose, 54
Barren), 119 Repertory, 59, 60
Moving Picture Burlesque, A Sociological aspect, 54
(Carmel), 146 Yiddish and Jewish plays and
Mr. and Mrs. P. Roe (Johnson), festivals, 57, 58
108, 117 Neighbors, The (Gale), 84, 85,
Mr. Sampson (Lee), 119 119, 145, 146, 202, 204
Mrs. Holyrod (Lawrence), 158 Nettie .(Ade), 196
Mrs. Margaret Calhoun (Hecht Nevertheless (Walker), 44
and Bodenheim), 114 Neville, Harry, 206
Mrs. Pat and the Law (Aldis), New Orleans, 179
125 New Sin, The (Hastings), 196
Much Ado About Nothing New Testament play, 106, 107,
(Shakespeare), 202, 203 109
Munich, Art Theatre of Fuchs, New Theatre, New York, 227-
12 231
Municipal theatres, 93, 98 Exterior (ill.), opp. 230
Northampton, Mass., 225-248 New York (City)
(with ill.) East-West-Players, 61 et seq.
Munro, Arthur Greenwich Village Theatre, 73
Where But in America!, 114 et seq.
Musset, Alfred de Little Theatre of W.
Ames, 15
Whims, 38 Little Theatres, 25 et seq.
Musset, Alfred de, and Emile Little Theatres, list, 22
Augier Neighborhood Playhouse, 54
Green Coat, The, 142 et seq.
My Lady's Dress (Knoblauch), New Theatre. See that title
247 Portmanteau Theatre, 39 et seq.
My Lady's Honor (Pemberton), Provincetown Players, 49 et
38 seq.
Mystery plays, 105, 106 Theatre Workshop, 205-207
Various companies, 68 et seq.,
Nathan, Mrs. Adele, 172, 173, 77-78, 243
175 Washington Square Players, 27
Song of Solomon, The, 172, 176 et seq.
National theatre, 177, 228 New York Idea, The (Mitchell),
National Theatre, Dublin, 202 234
INDEX 267
Newark, N. J., Neighborhood Oliver, Olive, 206

Players, 90 On Baile's Strand (Yeats), 108
Newly Wedded Couple, The On the Pier (Sherry), 146
(Bjornson), 211 On Trial (Reizenstein), 7,
Nice Wanton, 102 One-act plays, 4, 29, 173
Nicholson, Meredith, 163 Greatest, 58
Nigger, The (Sheldon), 30 Policy of Little Theatres in the
Night (Asch), 63, 64 United States, 17, 1 8
Night at an Inn, A (Lord Dun- One of Our Girls (Howard), 77
sany), 58, 59, 60, 196 One Word Play, 132
Night of Snow (Bracco), 38 Cf. Play in One Word
Nimble Wit and Fingerkin O'Neil, Raymond, 155
(Mackay), 118 O'Neill, Eugene, 52
Nine O'clock Theatre, New York, Before Breakfast, 52, 53
243 Bound East for Cardiff, 52, 53,
Nju (Dymow), 156, 157, 158 176, 178
No plays in Japan, 241 Fog, 53
No Sabe (E. Cook), 114 Sniper, The, 53
Noah's Flood, 102 O'Neill, James, 52
Noble Lord, The (P. Wilde), 88, Only Girl in Sight, The (Budd),
90, 133, 166 191
Nobody's Daughter (Paston), 230 Open Door, The (Sutro), 206
Nordfeldt, B. J. O., 53 'Op-o'-Me-Thumb (Fenn and
Joined Together, 53 Pryce), 102, 142, 212
North Dakota, 210, 211, 213 Orange Blossom (Chynoweth),
North Dakota, University of, 211 146
Northampton, Mass. Orchestra, 144
Exterior view of Municipal Ordynski, Richard, 157
Theatre (ill.), opp. 246 Orient, 241, 242
McCallum Theatre, 92-98 Orlopp, Mr., 162
Municipal theatre, 245-248 Osborne, W. H.
Stock Company, 93, 225 Alibi, The, 90
Nothing but Money (Champney), Othello (Shakespeare), 70
191 Other Dan, The (Taft), 1x7
Noyes, Alfred, 102, 247 Other Voice, The (Fairbanks),
Rada, 90 125, 192
O'Toole, Felix
Obituary, The (Commins), 53 Haunted Chamber, The, 207
O'Brien, Seumas Out of the Dark (Yeuell), 114
Duty, 88, 163 Outdoor auditorium, 40
O'Connor, Jeremiah Overtones (Gerstenberg), 33, 38,
Leader, The, 178 in, 162
Officer 666, 247
Ohio Agricultural College, 213 Pageant of the Shearman and
Old Heidelberg (Foerster), 230 Taylors, 162
Old Homestead, The, 247 Pair of Silk Stockings, A (Har-
Old Japan (Walker), 44 court), 25
Old Letters
(Howard), 119 Palace of Truth, The (Gilbert),
Old Peabody Pew, The, 215 119
Oliver, Margaret S. Palmer, J., 102
Turtle Dove, The, 97 Pan (MacNichol), 53
268 INDEX
Pantaloon (Barrie), 77 Philadelphia School of Design,
Pantomimes, 100, 105, 106, 109, too
in, 113, 162, 172, 189 Philanderer, The (Shaw), 25,
Paolo and Francesca (Phillips), 108
204 Philbrick, Allen, 121
Papa (Akins), 157, 158 Philip, Adolf, 226
Paradise of America, 92 Phillips, Stephen
Paradise Road, 92 Paolo and Francesca, 204
Paris, Little Theatres in, 2, 13, 14 Phillpotts, Eden
Parker, Cecil Carrier Pigeon, The, 142
Bee in a Drone's Hive, A, 212 Philosopher of the Apple Orchard
Parker, H. T., quoted, 123 (Hope), 142
Parrish, Maxfield, 41, 214 Pierre Patelin, 33, 38, 163, 189,
Parry, Maxwell 198
Dad, 132, 162 Cf. Maitre Patelin; Master
Passion play at Chicago Little Pierre Patelin
Theatre, 106-107, 109 Pierrot in the Clear of the Moon
Paston, George (Riggs), 113
Nobody's Daughter, 230 Pierrot of the Minute (Dowson),
Paternoster (Coppee), 142 86, 97, 98, 124, 132
Patterson, J. M. Pierrot the Prodigal, 25
By-Products, 119, 124 Pigeon, The (Galsworthy), 119,
Paul and Virginia (Rorty), 64 129, 132
Payne, B. I., 202, 206 Pillars of Society (Ibsen), 119
Peabody, Josephine P., 100, 183 Pinero, A. W.
Piper, The, 118, 229, 230 Amazons, The, 77, 119, 248
Pearn, Violet Magistrate, The, 77
Wild Birds, 60 School-mistress, The, 119
Pelham, Laura D., 116 Sweet Lavender, 77
Pemberton, Max Thunderbolt, The, 230
Holly and Mistletoe, 142 Trelawney of the Wells, 119,
Pemberton, Murdock 248
My Lady's Honor, 38 Pinski, David, 52, 65
Pennington, Wm., 34 Dollar, The, 53
People, The (Glaspell), 53, 149, Treasure, 65
178 Piper, The (Peabody), 118, 229,
Peppard, Ann, 164 230
Perez, Isaac L. Pippa Passes (Browning), 60
After Burial, 60 Pittsburgh, 167
Early Morning, 60 Carnegie Institute of Technol-
He and She, 63 ogy, 199
Sisters, 60 Laboratory Theatre of Carnegie
Perkins, Emily R., 101 Institute of Technology, 199-
Perkins, Mrs. Max 204
Woodland Princess, The, 214 School of Design, 199
Petrograd, Little Theatres in, 7 Pittsburgh Gazette Times, 203
Petroushka, sit 59 Pittsfield Stock Company, 225
Philadelphia Pixy, The (Ellis), 108
LittleTheatre of Philadelphia, Plainfield, N. H., 214
99-100 Exterior view of Little Theatre
Plays and Players, 101 (ill.), opp. 246
INDEX 269
Play inOne Word, A (Egan), 88 Scenes, 41, 42
Cf. One Word Play Unpacked and set for a per-
Players, status, 19, 20 formance (ill.)) opp 44
See also Salaries Post Office, The (Tagore), 98,
Players' Producing Company, of IC2
Los Angeles, 156 Pot of Broth, A (Yeats), 211
Playhouse of Cleveland, 153-155 Pot-Boiler, The (Gerstenberg),
Playhouse of Lake Forest, 111., 114, 206
121-125 Potato sacking, 19
Playing with Fire (P. Wilde), 82, Prairie Players, 128-132, 220
90 Prairie Playhouse, 126
Plays Finances, 128-129
Character adapted to the Little Illinois life, 130, 131
Theatre, 17, 18 Interior (ill.) opp. 126
Content, 19 Saloon transformed, 126, 127
Plays and Players, 101 Repertory, 132
Plays for Small Stages (Aldis), Prairie Wolf, The (Lange), 212
in, 124 Scene (ill.), opp. 212
PI writing
ay Pretty Sabine Women. See Sa-
First University Course in bine Women
America, 183 Price of Coal, The (Brighouse),
Method of teaching, 184-188 58, 60
Playwrights' Theatre, 47, 49, 51 Price Orchids, The
of (Hawk-
Plots, 122, 123 bridge), 165
Plots and Playwrights (Massey), Prices of admission, 28, 34, 40,
34, 38, 192 42, 43, 47, 65, 81, 83, 86, 88,
Poe, Lugne, 5 90, 100, 104, no, in, 116,
Poel, William, 202 128, 136, 140, 145, 148, 160,
Poem of David, The (Goodman 170, 171
and Hecht), 117 Prince Street Players of Roches-
Poet Writes a Song, The (Sted- ter, 88
man), 133 Princess Players, New York, 243
Poetaster, 202 Princeton University, 181
Poet's Heart (Bodenheim), 114 Private Account, A (Courteline
Poland, Little Theatre in, 6, 7 and Holthoir), 38
Pollock, Arthur, 79 Private theatricals, 20, 21
Polly of Pogue's Run (Bates), Prizes, 130, 141, 149
161, 163 Craig, 184, 192
"Polly's," 27 Prodigal Doll, The (Rusinol), 82
Poly anna, 233 Prodigal Son, The (Kemp), 53
Polyxena (Eliot), 162 Professionals, 134
Poor Fool, The (Bahr), 38 Programs, 45
Portland, Ore., 167 Annotated, 138
Portmanteau Theatre Washington Square Players,
Beginnings, 39, 40 30 et seq.
Interludes, 44 Provincetown, Mass., 46
Personnel, 42 Provincetown Players
Programs, 45 Acting, 49
Repertory, 43, 44 Associate members, 46, 47
Scene from The Golden Doom Costumes, 49
(ill.), opp. 44 Expenses, 219-220
ayo INDEX
New York theatre, 47, 49 Reicher, Emanuel, 56
Organization, 46 Reicher, Hedwig, 56
Plays, character and content, Reinhardt, Max, 3, 4, 63, 65, 228
48-52 Kammerspielhaus, n
Programs, 48, 50 Little Theatre in Berlin, 10
Stage, 48 Reizenstein, Elmer
Prunella (Housman and Barker), Iron Cross, The, 71
25, 118 On Trial, 71
Pryce, Richard. See Fenn, Fred- Rent, 217, 218
and Richard Pryce
erick, Repertory experiment, 232
Punishment (Burleigh and Rier- Repertory system, 36, 228
stadt), 117, 119 Little Theatre and, 236
Puppet plays, 108, 109 Repertory theatres in general,
Puppet Theatre, 118 223-227
Purple Dream, The (Breed), 192 Rescue, The (Smith), 84
Pygmalion and Galatea (Gil- Return of Proserpine, The
bert), 119 (Frank), 158
Return of the Prodigal (Beach),
Queen's Enemies; The (Dunsany), 192
59, 60 Revesby Sword Play, The, 152,
Question of Morality, A (P. 190, 191
Wilde), 68 Riccodenci
Quillcote Theatre of Hollis, Me., Shadow, The, 60
Rice, C. Y.
.215
Quintero Arduin, 137
Bright Morning, A, 82 Rice, Wallace
Sunny Morning, A, 58, 60 See Stevens, T. W., and Wal-
lace Rice
Raab, Kate M., 163 Rich Poor Man (Morley), 146
Rada (Noyes), 90 Riche, G. P.
Radcliffe College, 183 Lover's Luck, 38
Rainey, Ada, 29 Richmond Hill Community Play-
Ranck, E. C. ers, 79-82
Call of the Mountain, The, 191 Scene from A Sunny Morning
Randall, Ethel C. (ill.), opp. 82
Waves of Torre, The, 192 Rider of Dreams, The (Tor-
Reber, J. H., 101 rence), 69
Rebound, The (Robinson), 192 Riders to the Sea (Synge), 87,
Red Cloak, The (Meyer and 119, 145, 149
Langner), 38 Riggs, Gretchen
Red Flag, The (K. S. Goodman), Pierrot in the Clear of the
"3 Moon, 113
Red Turf (Mayne), 60 Riley, James Whitcomb, 163
Reed, John Rising of the Moon (Lady Greg-
Freedom, 53 ory), 119, 163
Moondown, 38, 142 Rivals, The (Sheridan), 91
Reed, M. W., 126, 128 Roadhouse in Arden, The (Moel-
In for Himself, 191 ler), 38
See also Crafton, J. R., Abby Robertson, Donald, 202
Merchant, and Mark Reed Robertson, T. W.
Reflections (Ewing), 137 School, 119
INDEX 271
Robinson, T. P. Sabotage (Valcross and D'Estoc),

Rebound) The, 192 68, 90
Robinson, Violet Sacred Ground (Giacosa), 125
Home Sweet Home, 190, 191 Sad Shepherd (Jonson), 115, 119
Robinson, W. F., 193 St. Denis, Ruth, 170
Robinson Hall, Hanover, N. H. } St. Louis
195 Artists' Guild, 136
Rochester Little Playhouse, 134-138, 248
Conservatory auditorium, 88 St. Louis Society for the Promo-
Fine Arts building, 86 tion of Drama, 135
Little Theatre Players, 86- St. Paul, Minn., 167
87 Salaries, 105, 134, 217, 218, 219,
Prince Street Players, 88 236
Romance (Sherry), 146 Salome, n
Romance of the Rose, The Saloon theatre, 126-127
(Hume), 152, 189, 191 Sam Average (Mackaye), 212
Ronano, Ronetta Saphier, Wm. See Bodenheim,
Three Generations, 60 Maxwell, and Wm. Saphier
Rorty, James Sardou, Victorien
Paul and Virginia, 64 Scrap of Paper, A, 212
Rosalind (Barrie), 119 Satt, Hilda
Rose, The (MacMillan), 132 Walking Delegate, The, 117
Rose of the Rancho, The, 247 Sauce for the Emperor (Mosher),
Rosenfeld, 66 53, 88
Roses (Sudermann), 98 Sa<viors (Goodman), 29, 31, 38
Rosmersholm (Ibsen), 108 Sax, Carol M., 170, 172, 173
Rostand, Edmond Scandinavian Experimental The-
Weeping Pierrot and Laughing atre, 13
Pierrot, 149 <
Scenery, 28, 41, 47, 53, 123, 140,
Rouche, Jacques, 13 157, 200, 202
Roumanian drama, 137 Arts and Crafts Theatre of
Ruben, Jose, 34, 237 Detroit, 150-151
Rumor (Bruegger), 114 Chicago Little Theatre, 107,
Rural theatres. See Country 108
theatres Harvard 47 Workshop Thea-
Rurale, Las (Massey), 146 tre, 189-190
Rusinol, Santiago Little Theatre of Philadelphia,
Prodigal Doll, The, 82 99, zoo
Russel, Howland McCallum Theatre, 97
Talker, The, 146 Prairie Playhouse, 129
Russell, Annie, 99 Simple, 116
Russia, Little Theatre in, 5 et Trojan Women, The, 106
seq. Scenic studio, 200
Rutherford and Son (Sowerby), Schaffer, H. B., 101
25, 117, 119 Schall und Rauch, 10, 27
Ryland (Goodman and Stevens), Scheming Lieutenant, The (Sheri-
60, 146, 173, 176 dan), 162
Scene (ill.), opp. 174 Schnitzler, Arthur, n, 102
Anatol, 25, 88, 108, 158
Sabine Women (Andreyeff), 7, Literature, 38
162 School (Robertson), 119
272 INDEX
School for Scandal, The (Sheri- Captain Brassbound's Conver-
dan), 77, 230, 248 sion, 55, 60, 234
School of acting, 37 Dark Lady of the Sonnets, The,
School-mistress, The (Pinero), 142, 162
119 Devil's Disciple, The, 119, 248
Scrap of Paper, A (Sardou), 212 Doctor's Dilemma, The, 102,
Sea Gull (Tchekoff), 6, 38 232
Sea Pride (Graf ton, Merchant, Great Catherine, 59, 60, 116,
and Reed), 132 119
Searle, Katherine How He Lied to Her Husband,
March of Truth, The, 133 77, 119, 142, 162
Seating capacity, 26, 30, 46, 48, Major Barbara, 234
54, 81, 88, 95, 99, 103, 112, Man of Destiny, The, 119
115, 121, 128, 140, 148, 159, Philanderer, The, 25, 108
160, 171, 212
185, Stage Society, 8
Second Shepherd's Tale, The, You Never Can Tell, 77, 115,
196, 198 119, 203, 204, 248
Sermon on the Mount at Maurice Shaw, Mary, 38, 206
Brown's Little Theatre, Chi- Sheldon, Edward, 183
cago (ill.) opp. 106 Nigger, The, 230
Seven Gifts, The (Walker), 40 Shepherd, The (Dargan), 56, 60
Sganarelle (Moliere), 38 Shepherd in the Distance, The
Shadow, The (Riccodenci), 60 (Hudson), 29, 38, 165
Shadow Garden of Shut-Eye Sheridan, R. B.
Town, 59 Critic, The, 77
Shadow of the Glen, The Rivals, The, 91
(Synge), 203, 207 Scheming Lieutenant, The, 162
Shadowy Waters, The (Yeats), School for Scandal, The, 77,
108, 158 230, 248
Sham (Tompkins), 149 Sheridan Square, 73
Shakespeare, 162 Sherlock Holmes (Gillette), 247
Antony and Cleopatra, 230 Sherry, Laura (Mrs. E. P.)i *44>
As You Like It, 204 146, 202
Hamlet, 6, 223, 247 Ambition, 146
Merry Wives of Windsor, The, Just Livin', 146
230 On the Pier, 146
Midsummer Night's Dream, Romance, 146
118, 232 Shoemaker and the Elves, The,
.
Othello, 70 118
Twelfth Night, 118, 230 Shore Acres (Herne), 247
Two Gentlemen of Verona, Sigurjonsson, Johann
202, 203 Eyvind of the Hills, 190, 192
Winter's Tale, 202, 204, 230 Silhouette play, 105, 106, 109
Shaw, Frances Stiver Box, The (Galsworthy),
In the Pasha's Garden, 124 56, 60, 119
Shaw, G. B., n, loo Simon the Cyrenian (Torrence),
Admirable Bashville, The, 178 69
Androcles and the Lion, 232 Simons, Austin
Arms and the Man, 149 Dead Soul, 146
Augustus Does His Bit, 178 Simonson, Lee, 29, 33
Candida, 133 Simplicity, 3, 19, 41, 123-124
INDEX 273
Sister Beatrice(Maeterlinck), Steele, W.
D.
223, 229, 230, 248 Contemporaries, 175, 176
Sisters (Perez), 60 Sterling, George
Sisters of Suzanna (Moeller), 38 Everyman, 156, 158
Six Who Pass While the Lentils Steven.s, T. W., 199, 202
Boil (Walker), 43 See also Goodman, K. S., and
Skeletons Out of the Closet (E. T. W. Stevens
Cook), 114 Stevens, T. W., and Wallace
Skinner, Otis, 206 Rice
Sky effects, 55 Chaplet of Pan, The, 204
Slave, The (Towse), 119 Topaz Amulet, The, 146
Sleeping Beauty, The, 56, 59, 83, Stock companies, 225-226
118 Stockholm, Intimate Theatre, 13
Sloan, J. B., 112, 116 Stokes, Rose Pastor
Smith, George Jay In April, 31, 38
Forbidden Fruit, 29, 31, 38 Stranger, The (Hirshbein), 63,
Smith, H. F., and T. A. Viehman 64, 65
Cloak of Dionysus, The, 204 Stranger Star, The (Crafton),
Smith, Rita C. 133
Rescue, The, 84 Stravinsky, I. F., 57, 59
Smith College, 93, 245 Strife (Galsworthy), 230
Sniper, The (O'Neill), 53 Strindberg, August, 4, u, 102,
Snow- White (Marsh), 113 107
Sociological theatres, 54, 103, 115 Creditors, 108
Son and Heir, The (Unger), 102 Holte project, 13
Son of the People, A (Michaelis), Stronger, The, 97, 98, 108, 145,
231 176
Song of Solomon, The (Nathan), Strong, Austin
66,172, 176 Drums of Oudh, 78
Sothern, E. H., 95, 203 Stronger, The (Strindberg), 97,
Sovey, Raymond, 172 98, 108, 145, 176
Sowerby, Githa, 115 Stucken, Edward, n
Rutherford and Son, 25, 117, Subjection of Keziah (Ellis), 58,
119 60, 108
Speckled Band (Doyle), 196 Such a Charming Young Man
Spelman, Timothy, 189 (Akins), 82
Spreading the News (Lady Greg- Sudermann, Herman, 102
ory), 119, 142, 163 Far- A way Princess, The, 142
Spring in Bloomsbury (Brig- Fires of St. John, The, 60
house), 178 Last Visit, The, 142
Squaw Man, The, 247 Roses, 98
Stage Exhibit, 150 Sugar House, The (Brown), 38
Stage Society, 232 Summer course in playwrighting,
Beginning, 8 185, 191
Provincetown Players, 47 Summer Stock Company, 225,
Stanislavski, Constantine, 4, 5, 6, 226
12 Sumurun, n
Star system, 223-224 Sunny Morning, A (Quintero,
Static drama, 122 trans, by MacDonald), 58
Stedman, Howard Cf. Bright Morning, A
Poet Writes a Song, The, 133 Scene (ill.), opp. 82
274 INDEX
Suppressed Desires (Cook and Theatre Frangais, New York, 226
Glaspell), 52, 53, 98, 152, Theatre of the Soul, The
163, 174, 175, 176, 178 (Evrienof), 149, 176
Sutro, Alfred, 102 Theatre Workshop, The (New
Bracelet, The, 206 York City), 205-207
Man in the Stalls, 196 Thimble Theatre, 244
Marriage Has Been Arranged, Thomas, A. E., 247
A, 87, 206 Her Husband's Wife, 132, 142
Open Door, The, 206 What the Doctor Ordered, 102
Sweden, Little Theatre in, 13 Thompson, Julian
Sweet Lavender (Pinero), 77 How Very Shocking, 114
Sweethearts (Gilbert), 68, 77 Thompson, Maurice, 163
Swet, Gilbert, 193 Three Generations (Romano), 60
Symbolism, 6, 7 Thunderbolt, The (Pinero), 230
Synge, J. M., 4, 6, 93, 196 Tobit, The Book of, 97
Riders to the Sea, 87, 119, 145, Toensfeldt, Kurt, 137
149 Toensfeldt, Margaret, 137
Shadow of the Glen, The, 203, Tolstoy, Leo, 4
207 Where Love Is, n8
Tomorrow (Mackaye), 100
Taft, Oren, Jr., 108 Tompkins, Frank
Conscience, 158 Sham, 149
Man, The, 114 Tonsils (Marsh), 114
Other Dan, The, 117 Topaz Amulet, The (Stevens and
Ten Minutes, 113 Rice), 146
Tagore, Rabindranath Torrence, Ridgely
Post-Office, The, 98, 102 Granny Maumee, 69
Talker, The (Russel), 146 Rider of Dreams, The, 69
Tarkington, Booth, 163 Simon the Cyrenian, 69
Kisses of Marjorie, The, 162 Towse, J. R.
Tartuffe (Moliere), 202, 204 Slave, The, 119
Taxes, 218 Toy Theatre of Boston, 15, 123,
Tchaikowsky, 59 138, 186,243
Tchekoff, Anton, 102, 196 Tradition (Middleton), 124, 146
Bear, The, 38, 133 Traditions, 205
Marriage Proposal, A, 58, 60, Tragedy of Nan, The (Mase-
88 field), 119, 178
Sea Gull, 6, 83 Trask, Mrs. Katrina
Temperament (Aldis), 125 In the Vanguard, 247
Ten Minutes (Taft), 113 Traveling Man, The (Lady
Tenor, The (Wedekind), 38 Gregory), 211
Tents of the Arabs (Lord Dun- Traveling theatre, 39, 40
sany), 102, 151, 203, 206 Treasure (Pinski), 65
Terrible Meek, The (Kennedy), Trelawney of the Wells (Pi-
132 nero), 119, 248
Terry, Ellen,56, 224 Trifles (Glaspell), 32, 35, 38,
Tethered Sheep (Welsh), 60 152
Thanksgiving Festival, A, 59 Trimplet, The (Walker), 43
Theatre des Arts, Paris, 13 Troilus and Cressida, 181
Theatre du Vieux Colombier, Trojan Women, The (Euripides),
Paris, 13, 14, 26, 226 105-106, 108
INDEX 275
Tulane University, 179 Victims (Lowrey), 119
Turtle Dove, The (Oliver), 97 Viehman, T. A.
Twelfth Night (Shakespeare), See Smith, H. F., and T. A.
118, 230 Viehman
Twelve-Pound Look (Barrie), Vieux Colombier. See Theatre
206
91, 142, du Vieux Colombier
Two Blind Beggars and One Less Village, The (Feuillet), 124
Blind (Moeller), 29, 38 Villon, Franqois, 169, 170
Two Gentlemen, of Verona Violin Maker of Cremona, The
(Shakespeare), 202, 203 (Coppee), 203
Two Sons, The (Boyce), 53 Voices (Flexner), 44
Tyler, Royall Vrehlicky, Jaroslav, 102
Contrast, The, 102
Waldies, The (Hamlen), 60
Under Fire, 247 Walker, Clementine, 172
Unger, Gladys Walker, Stuart
Son and Heir, The, 102 Flame Man, The, 44
United States Lady of the Weeping Willow
Little Theatre movement in, 14 Tree, 43
et seq. Medicine Show, The, 44
Little Theatres in, list, 22, Nevertheless, 44
.
23 Old Japan, 44
Universities Portmanteau Theatre, 39 et seq.
Dramatic clubs, 181 Seven Gifts, The, 40
Laboratory theatre, 183
first,
Six Who Pass While the Len-
Laboratory theatres, 181-182 tils Boil, 43
Upper Mississippi Valley, 130- Trimplet, The, 43

Very Naked Boy, The, 44
Walking Delegate, The (Satt),
Vagabond Theatre of Baltimore 117
Baltimoreans, 172, '173 Wanger, W. F., 193, 197
Cosmopolitanism, 175 War Game, The (Gerstenberg
Interior of playhouse, 170- and Cordova), 113
171 Washburn, Mildred B.
Plays and settings, 173, 174 What It Gets Down To, 141,
Programs, 169, 174-175 142
Purpose, 170 Washington, D. C., 177-178
Repertory, 176 Washington Square Bookshop,
Scene from Ryland (ill.)i opp. 27, 46, 47
174 Washington Square Players, 99,
Villon idea, 169, 170 113, 235, 236, 237
Valcross, W., and Pol d'Estoc Acting, 33, 34
Sabotage, 68, 90 Comedy Theatre, 34, 35
Valley, The (Crowell), 146 Establishment, 27
Van Colkenburg, Ellen. See Expenses, 219
Edgerton, Harriet, and Ellen Inscenation, 30
Van Colkenburg "Intellectual inducements," 36
Vanity Fair (Hichens and Len- Programs, 30 et seq.
nox), 231 Repertory, 37, 38
Very Naked Boy, The (Walker), Scene from Bushido (ill.)
44 opp. 32
276 INDEX
Scene from The Life of Man Wilde, Percival, 166, 247
(ill.), Frontispiece According to Darwin, 82
Scene from The Merry Death Dawn, 88, 162, 166
(ill.), opp. 32 Finger of God, The, 146
Scenic investiture, 19 House of Cards, A t 82, 88, 90,
School of acting, 37 1 66
Success, 33, 35 Noble Lord, The, 88, 90, 133,

Waves of Torre (Randall), 192 166
Wedekind, Frank, n, 100 Playing with Fire, 82, 90
Tenor, The, 38 Question of Morality, A, 68
Weeping Pierrot and Laughing Wilkinson, Norman, 232
Pierrot (Rostand), 149 Will, The (Barrie), 142
Wellman, Rita Winnek, Marian F.
Barbarians, 53 Educated, 191
Welsh, R. G. Winston-Salem, N. C., 244
Tethered Sheep, 60 Winter's Night (Boyce), 53
Welsh Honeymoon (Marks), 167 Winter's Tale (Shakespeare),
Welsh life, 167 202, 204, 230
Welsh National Theatre, 9 Wisconsin, University of, 144
Wessex Players, 9 Wisconsin Dramatic Society, 143-
West, various Little Theatres in, 146
121 et seq. Wisconsin Players, 143
Weyrich, Joseph, 172 Wisconsin Plays, 145
Wharf Theatre, 47 Witch, The (Janssen), 230
What It Gets Down To (Wash- With the Current (Asch), 58
burn), 141, 142 Wolf, Pierre, 3, n
What the Doctor Ordered Women in the Workshop Thea-
(Thomas), 102 tre of Yonkers, 83
What the Public Wants (Ben- Womenkind (Gibson), 60, 108
nett), 102 Women's parts, men in, 197, 198
Where But in America! (Mun- Wonder Hat, The (Hecht and
ro), 114 Goodman), 113
Where Love Is (Tolstoy), 118 Wonder-worker, The (Wright),
Which One? (Bourget), 125 190, 192
Whims (Musset), 38 Woodland Princess, The (Per-
White, Hervey kins), 214
Fire and Water, 38 Woodruff, H.
White House Saloon, 127 Death A Discussion, 132
Interior (ill.), opp. 126 Woolcott, Alex., 36, 237
Why the Chimes Rang (McFad- Worker-players, 61, 62
den), 189, 191 Workhouse Ward, The (Lady
Wiggin, Kate D., 215 Gregory), 88, 119, 142, 196,
Wild Birds (Pearn), 60 211
Wilde, Oscar, n, 100 Workshop Theatre in New York,
Birthday of the Infanta, 43, "3
192 Workshop Theatre of Chicago
Happy Prince, The, 108 Character, 103, no
Ideal Husband, The, 102 Dues and rates, no, in
Importance, of Being Earnest, Expenses, 220
The, 80, 119, 163, 204, 248 Production, 111-112
Lady Winder mere's Fan, 88 Repertory, 113
INDEX 277
Workshop Theatre of Yonkers, \

In Baile's Strand, 108
3
83 ot of Broth, A, 211
Workshop theatres Shadowy Waters, The, 108,
First, 5 158
First in America, 184 Yellow Passport, The, 64
Wright, Lucy Yeuell, Donovan
Wonder-worker, The, 190, 192 Out of the Dark, 114
Wyspianski's Little Theatre in Yiddish plays, 57, 62 et seq.
Cracow, 6, 7 Yiddish theatres, 226
Yoku-Ki (Bernstein), 100
Yale Dramatic Club, 181 Yonkers, Workshop Theatre, 83
Yarrow, Sarah Yorska, Madam, 237
King of the Black Isles, The, You Can't Get Away From It
too (Bruegger), 114
Yeats, W. B., 4, 102 You Never Can Tell (Shaw), 77,
Cathleen ni* Hoolihan, 163, 115, 119, 203, 204, 298
178
Land of Heart's Desire, The, Zaragueta, 68
203 Zorachs, The, 53
14 DAY USE
RETURN TO DESK FROM WHICH BORROWED
LOAN DEPT.
This book isdue on the last date stamped below, or
on the date to which renewed.
immediate recall.
M/VV 111962
,.,
UNIVERSITY OF CALIFORNIA LIBRARY

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PREFACE

'HIS book aims to give a complete survey of one of

newest, freest, most potent and democratic forces

ievements, special significance, policy, repertory, and

:atres the author has striven to be as fair as possible ;

naturally, the Little Theatres ,that have made the

emember that the amount of space apportioned was

the replies, in spite of additional correspondence, proved

given wherever that repertory was made up of new, sig-

Little Theatres. To a certain extent, repetition had to

There is a Chapter on the Little Theatre's Cost of

Independent, The Art World, The Bellman, The Mid-

'THE RlSE OF THE LlTTLE THEATRE

Theatre of Andre Antoine. Lugn Poe. StanislavskTs

THE LITTLE THEATRES OF NEW YORK CITY . 25

THE LITTLE THEATRES OF NEW YORK CITY (Con.) 61

OTHER LITTLE THEATRES OF THE WEST (Con.) . 147

THE LITTLE THEATRES OF THE SOUTH . .169

Laboratory Theatre. The Laboratory Theatre of Car-

Little Country Theatres. The Little Plainfield (N. H.)

A WORD ON REPERTORY THEATRES IN GENERAL 223

The Prairie Wolf by John B. Lang as produced at the

THE RISE OF THE LITTLE THEATRE

mercialism the Little Theatre. The very name Little

Theatre is salted with significance. It at once calls to

mind an intimate stage and auditorium where players

where unusual non-commercial plays are given a theatre ;

where the repertory and subscription system prevails;

capacity may be seventy or three hundred. But they do

they are exponents of the repertory system; and last,

mentation. For experimentation is the Little Theatre s

concerned; for its rise in this country began in 1911-

from Europe. Its inception goes back ^1887 when the

by Andre Antoine \i 37 Elysee des Beaux ArtsJ/ Jules

Lemaitre's description of that blustery October evening

but glorious manger. Can it be that in this manger the

thajxAndre Antoine by establishing the first genuine Little

ning his career as a clerk; a man imbued with a pas-

with an enthusiasm for the art of the theatre so great

(or were writing), plays men such as Eugene Brieux,

Camilla Fabre, Pierre Wolf, and George Ancey. All

crystal of futurity. And more. He might have glimpsed

Be that as itmay, when Lemaitre and Faguet, with

lished once and for all the idea of intimacy between

players and ~au3Tence ;

was never run for profit. audience was a subscrip-

tion audience, exactly as are the Little Theatre audiences

marked a new epoch in stage development. The whole

duced the then revolutionary plays of Ibsen, Strindberg,

less searching, his fearless producing, he made possible

stage in the last thirty-five years." Indeedythe whole

/"finest one-act plays of Europe might never have been

either farcical or melodramatic qualities if it was to hold

its own. The Little Theatre gave the literary one-act

play, the play of characterization and style and nuance a

It has been claimed that the Little Theatre does not

no space for the vast, the heroic, the impassioned, the

expres&ed tfiis. is Jhe_.acting-ideal oLAcjJEfe-S^S^