Schuster School - Proscenium Yearbook (Cincinnati, OH)

Page 24 text:

mmzmom 24mmdymmmMMd4Am a mmmxdcjm MMHwDIUm Page twenty-two

Page 23 text:

i t E. E LPN i! 37?; ,- Now these amateur and educational theatres are not necessarily governed by the real Little Theatre idea, but the fact that they exist shows a growing demand for better plays, simply produced, and a greater intimacy between the audiences and the players. This new attitude has not developed in this country alone. in France, An- toine was a dramatic revolutionary. He founded the Theatre Libre, and with his little band of enthusiasts opened the eyes of the French public. uThe influence of the Theatre Libre upon the development of the theatre in France was enormous,u says Brieux. iiHe tAntoinei was the first to bring Ibsen to France and Francois de Curel into international renown. ' The Little Theatres in America are trying to do what the Free Theatre did for France. They are striving continually for things new and daring. They are bring- ing the ultra and the eccentric to the people who enjoy such things, and they are producing the plays of unknown dramatists in the hope of helping them to establish themselves. In spite of the fact that a great many people have taken up the idea as a fad, in spite of the utterly utter, and sometimes the disgusting things that have been producecl, growing out of a madness for stimulating new sensations, the Little The- atres are doing a great good. The Toy Theatre in Boston treats the drama consist- ently as a fine art, and has produced in the four years of its existence plays by Shaw, Strindberg, Sudermann, Chesterton, Percy MacKaye, and many others, never falling below the ideal standards which it set up for itself in the outset. The Toy Theatre employs Bostonian amateurs for actors, and is no doubt an outgrowth of the move- ment Professor Baker set on foot. The Chicago Little Theatre employs professional actors, but is a repertoire theatre for experimental producing e again we trace the Baker movemente presenting both classic and modern drama at popular prices. It states in its announcements that its purpose is the creation of a new and plastic rhythmic drama in America. Winthrope Ames' Little Theatre in New York City and the Little Theatre in Philadelphia with Mr. Hines at its head are both doing the same kind of work. If the Little Theatre is only for the aristocratic few, it must be remembered that there will always be an aristocracy in things dramatic as well as in things politic. This minority is doing what it can to produce the closet drama and literary play under favorable auspices. It is not a minority because it wishes to be so, but from the very nature of things. There is as wide a difference between plays and players as there is between a hutdy-gurdy on a street corner and a cathedral organ. The devotees of the Little Theatre have learned to appreciate this difference, and to prev fer the organ music to the hurdy-gurdy tunes. Their greatest work, now, is to educate the public and to swell the ranks of the real musicians, so that there will be a demand for a Little Theatre in every community capable of supporting such an institution. For, as Professor Baker has said, iiThe drama is the most potentially powerful esthetic expression in the modern world.n Page twenty-nne

Page 25 text:

;-,, THE TWO COMPANIES LTHOUGH the Little Playhouse was built primarily as a greatly needed addition to the school, plans had also been formulated towards establishing it as a Little Theatre, in which intimate drama would be produced by a professional company, assisted by the advanced students of the school. This plan, however, was deemed inadvisable at the time and was temporarily abandoned, but a stock company of advanced students was formed, called The Little Playhouse Company. This company is semi-professional, several of its members having had experience on the professional stage, and has produced unusual plays in connection with the regular work of the school, as examples of what can be done if the Little Theatre idea is seriously taken up and placed on a firm Financial basis. Besides The Little Playhouse Company productions, and those Which were merely class plays, there have been productions by The Schuster Players. This company is made up of advanced students, assisted by preparatory and interme- diate students. In the following chronological arrangement of the plays produced at The Little Playhouse during the year 19144 5, the company producing each has been designated. PERFORMANCES October 16, 1914n- 'iAil-of-a-Sudden Peggy, a three-act comedy by Ernest Denny, presented by the Schuster Players under the direction of Mrs. Helen Schuster-Martin. Miss Estelle Borkes, a post-graduate pupii, gave an easy and clever perform- ance as Peggy O'Mara. Mr. John Alexander, as Jimmy Keppel, made an attractive juvenile lead opposite Miss Borkes. Wesley Tracy,s character work as Lord Craken- thorpe was creditable, and Miss Irene Griffin's portrayal of Mrs. OiMara showed her long and excellent training. Others in the cast were Misses Faith Tracy, Linnie Townsley and Gertrude Brice, and Messrs. Edwin Rickey and Harry Schoelwer. October 23, 1914eiiEverywoman, act one, a morality play by Walter Brown, presented by The Schuster Players under the direction of Mrs. Helen SchustereMartin. Miss Pauline MacLean gave a sweet and graceful portrayal of Everywoman before she leaves her home to seek King Love. Albert Cash, as Nobody, used more voice and less variety of reading than was called for. Mr. Allen Stelton was satisfactory as Fiattery. Miss Faith Tracy's character work as the witch Truth was adequate. Mr. John Alexanders performance as Love was very good, and the Misses Edna Ramsey, Olga Reinstatler, and Dorothy McCord as Youth, Beauty, and Modesty did very creditable work. December 4, l9l4a'iThe Bribe, a three-act drama by Seumas OiKelley, produced by the Little Playhouse Company under the direction of Mr. Boyd Agin. 'iThe Bribe was the First production by the Little Playhouse Company, and is an irish play of the intimate type so often produced at the National Theatre, Dublin. Page twenty-three