With the advent of the "little theater" movement, from about 1905, there are many small companies and theaters which can, in a broad sense, fairly be termed repertory. To discuss any number of them would require a book in itself, and the reader is referred to "_The Insurgent Theater_" by Professor Dickenson as the work most nearly fulfilling this need. Probably the _Washington Square Players_ of New York are typical, more or less, of them all, and their repertory for two years is given in the Appendix. Aside from the natural conditions resulting from the war, one reason of their failure seems to have been their pernicious desire to be "different" at any cost. In spite of their excellent work they ultimately found that cost to be prohibitive, but the discovery was made too late.[5] The majority of the little theaters are, however, too entirely provincial in their appeal to warrant an assumption of any great influence, in spite of their vital and unquestionable importance.[6] It will be observed that in speaking of Stuart Walker's work I have used the phrase repertory _company_, not, repertory _theater_. That is, of course, part of the secret. A theater anchored to one spot is obviously at a disadvantage. It cannot seek its audience, but must sit with what patience and capital it has at its disposal, and wait for the audience to come to it. With a touring company the odds are more even. An unsuccessful month in one city may be made up by a successful one in another. The type of play that captivates the west may not go at all in the east, and the other way about. There are plays now on the road, and which have been there literally for years, doing excellent business, which have never ventured to storm the very rocky coast bounding New York. And there are plays which have had crowded houses in the metropolis which have slumped, and deservedly so, most dismally when they were taken out where audiences were possessed of a clearer vision. Hence it is easy to see that Mr. Walker, playing in both the east and the west, in small cities and in large ones, can do what the _New Theater_ and the _Playhouse_ could not do. True, they could send their companies out on tour, but the _New Theater_ with its huge stage and panoramic scenery could find but few theaters which could house it, and the whole idea of both that and Miss George's company was a fixed repertory theater. Indeed in both of them the faults of the "star" system were never wholly absent.