THE WASHINGTON SQUARE PLAYERS

THAT the American stage, if not actually undergoing radical transition, is in a state of restless discontent, is indicated by the number of schemes for its betterment which have recently been put before the New York public. In my opinion, the most promising of all these is that of The Washington Square Players who have recently established themselves in the Band1 box Theatre, with a programme consisting of four short plays. And when I say promising, I mean from the point of view of theatre goers, not from that of the pocket books of its projectors. That, too, may come in the course of time.

The Players' enterprise rests on the solid foundation of youth, enthusiasm and poverty, and if they can escape the curse of wealthy and fashionable patronage, all will be well with them. I say this in defiance of that powerful school of thought that bases the probability of success in the drama upon money alone. It was this school that voiced its belief in the New Theatre, in the familiar slogan of "Look at all the money they've got!"

In fixing the price of their seats at the low sum of half a dollar the Players have shown that some one in their organization possesses a very wise business head. I may add that the drama is the only one of the fine arts which is inextricably bound up with business, for, without a paying audience that fills the house, it is impossible to attain the highest artistic results. The low prices at the Bandbox will serve to attract the poorer classes who seem always to have the greatest appreciation for the drama. Every great endowed theatre in Europe springs from this same humble, native soil and not from an assured endowment.

In considering the entertainment offered at the Bandbox, it should be remembered that it is largely the work of amateurs, and that its plays are the natural expression of youthful thought rather than of ripened knowledge. In "License" Mr. Basil Lawrence protests in his own fashion—entertainingly rather than logically—against certain shackles imposed on youthful love and passion. In "Eugenically Speaking" Mr. Edward Goodman satirizes, with a great deal of humor and very clear logic, various distinctively modern theories of marriage and eugenics.

In the first play Josephine Meyer sets the acting pace for the whole enterprise. Indeed, her method is so simple and her interpretation of the part of the mother so convincing, that I was surprised to learn that she was not an experienced actress. The difference between her and Ida Rauh is that Miss Meyer acts, while Miss Rauh merely performs. I may add that the little play would gain rather than lose were the curtain to be lowered on the exit of Miss Meyer and Mr. Sommes.

I was very much amused by Mr. Goodman's "Eugenically Speaking," in which a young woman who has been fed on theories—Florence Enright plays the part excellently— brings home a lusty car conductor with the avowed intention of marrying him. After she has explained her purpose to her amazed father it turns out that the car conductor is already married and has accompanied the young girl to her home under a complete illusion in regard to her ^intentions.

In "An Interior," the, Maeterlinck play, there is a single scene, novel and really beautiful, which, as one spectator expressed it, "out-Barker's Barker." The piece is played as it should be, with genuine restraint, and there is a pleasing absence of emotional dramatic-academy tactics, into which young actors are so prone to lapse if not pulled up by a strong hand. In this play, also, Josephine Meyer shines in a role which she interprets by listening rather than by talking.

It is a long while since I have seen such an auspicious theatrical beginning. There is a special public for this independent little playhouse. The man of imagination who wishes to write plays, as nearly every imaginative man does, will feel that the Players offer him opportunities for the exercise of his gifts such as he cannot find in the ordinary theatres and vaudeville houses.

James L. Ford