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Updated: June 7, 2025
It is precisely the people most susceptible to the glamour of the theatre who are the greatest hindrances to serious dramatic art. They will stand anything, no matter how silly, in a theatre. Fortunately, there seems to be a decline in the number of people who are acutely susceptible to the theatre's glamour.
Only once or twice did discrepancies appear in the recitative of Donna Anna; yet this did not involve me in any kind of hostility, and when I took my place unabashed and calm for the production of Lumpaci Vagabundus, which I had practised very thoroughly, the people generally seemed to have gained full confidence in the theatre's new acquisition.
They are minded to resist any supervision of the theatre's manners for fear it might shackle in time the theatre's thought. Today or tomorrow they may be seen temporizing or at least negotiating with the forces of suppression in any community, but they are really seeking all the time to frustrate those forces. And will so seek ever and always, law or no law.
Certainly the world has profited by this compulsion, for millions who have never and will never see the theatre's efforts to represent Shakespeare's pictures have had infinite pleasure from the author's successful endeavours to realize his ideas by the force of words.
'He can't go all that way in this storm such a mite, and so used up with cold and sleep, John. 'Of course he can't; we'll put him in a car, began John; when the boy wheezed out, 'No; I've got ter wait for Sam. He'll be along as soon's the theatre's done. He said he would; and so I'm waitin'. 'Who is Sam? I asked. 'He's the feller I lives with. I ain't got any folks, and he takes care o' me.
"What's the meaning of this?" Then she flushed. The flush touched Edward Henry in an extraordinary manner. "Well," he said aloud, as naturally as he could, "that theatre's beginning to get up on its hind-legs now, and I should like you to see it." A difficult pass for him, as regards his mother! This was the first time he had ever overtly spoken of the theatre in his mother's presence.
The reason of this was simply that, in elucidation of the composition of the antique distich, he made use of his own poem of the above name, which he had included in a Danish reading-book edited by himself. As soon as he took up his position in the desk, he began: "Hark ye the storm of ap plause from the theatre's echoing circle! Go on, Moeller!" How could he find it in his heart, his own poem!
On the first evening "Norma" was sung; on the second, "Le Chalet" and "Galatée." To the presentation of these widely differing works attached a curious importance, in that they brought into strong relief an interesting phase of the theatre's psychology: its absolute intolerance of small things. "Norma" was received with a genuine furore; the two pretty little operas practically were failures.
Swiftly she threaded the narrow alleys in search of the theatre's rear entrance, for she dared not approach from the front. In this way she came into a part of the camp which had lain hidden from her until now, and of the existence of which she had never dreamed.
The first evening of my theatre's reopening, therefore, was announced in flaring capitals on the play bills, "under the patronage of the Honorable Mrs. Fantadlin," Sir, the whole community flew to arms! The banker's wife felt her Dignity grievously insulted at not having the preference; her husband being high bailiff, and the richest man in the place.
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