Let us now contract our view rather violently from the European theatre of war to the theatre in which the fights are sham fights, and the slain, rising the moment the curtain has fallen, go comfortably home to supper after washing off their rose-pink wounds. It is nearly twenty years since I was last obliged to introduce a play in the form of a book for lack of an opportunity of presenting it in its proper mode by a performance in a theatre. The war has thrown me back on this expedient. Heartbreak House has not yet reached the stage. I have withheld it because the war has completely upset the economic conditions which formerly enabled serious drama to pay its way in London. The change is not in the theatres nor in the management of them, nor in the authors and actors, but in the audiences. For four years the London theatres were crowded every night with thousands of soldiers on leave from the front. These soldiers were not seasoned London playgoers. A childish experience of my own gave me a clue to their condition. When I was a small boy I was taken to the opera. I did not then know what an opera was, though I could whistle a good deal of opera music. I had seen in my mother's album photographs of all the great opera singers, mostly in evening dress. In the theatre I found myself before a gilded balcony filled with persons in evening dress whom I took to be the opera singers. I picked out one massive dark lady as Alboni, and wondered how soon she would stand up and sing. I was puzzled by the fact that I was made to sit with my back to the singers instead of facing them. When the curtain went up, my astonishment and delight were unbounded. The Soldier at the Theatre Front In 1915, I saw in the theatres men in khaki in just the same predicament. To everyone who had my clue to their state of mind it was evident that they had never been in a theatre before and did not know what it was. At one of our great variety theatres I sat beside a young officer, not at all a rough specimen, who, even when the curtain rose and enlightened him as to the place where he had to look for his entertainment, found the dramatic part of it utterly incomprehensible. He did not know how to play his part of the game. He could understand the people on the stage singing and dancing and performing gymnastic feats. He not only understood but intensely enjoyed an artist who imitated cocks crowing and pigs squeaking. But the people who pretended that they were somebody else, and that the painted picture behind them was real, bewildered him. In his presence I realized how very sophisticated the natural man has to become before the conventions of the theatre can be easily acceptable, or the purpose of the drama obvious to him.