Again let me ask the great author and those who "present," those commercial gentlemen who seek to crucify the star, what inducement they offer the young beginner in the way of a future. Are all the budding geniuses to be strangled at their birth, their dreams to be made delusions? Are they to have no chance to gratify their ambitions, only the remote possibility of being one of an ensemble? You are trying to rob the public of its favorite player, to destroy all individuality, to make us a melting-pot, a cesspool of ensemble, subject to your will and dictation. It is a pretty tall order, my friends, and be careful lest you who would destroy be not destroyed. If the stars are forbidden to shine it is their own fault. If only twenty would band themselves together (and it can be done) I'd guarantee to finance the scheme with half a million dollars. If they would form a syndicate, I would guarantee to drive these impertinent gentlemen into the clouds of oblivion from which they sprang and the little and big stars would form a constellation that would maintain the dignity of our glorious profession! _Chapter XX_ ATMOSPHERIC PLAYS It was some sage of long ago who wrote: "The muse of painting should be, on the stage, the handmaid, not the sister nor rival of the drama." I quite agree with the gentleman who penned those lines. I disagree with any suggestion or device that dwarfs the beauty and art of a play. That is why I strenuously object to the term "atmosphere" as applied to any of our present day productions. It is only a cloak and an excuse to conceal incompetency. Let the scenery be well painted, attractive and fitted to the frame, but don't take off your roof to pile Pelion upon Ossa! Endeavor to please the eye--with processions and real running water, if you like, but keep all in due subordination to the acting. Realism was strangled after some ungodly years of struggling life. For a time acting became subservient to railroad trains, buzz saws and waterfalls. Ships were sunk in full view of the audience, ice floats cracked and dialogue was smothered in the dust of stage cloth and salt. Public opinion soon demonstrated this was wrong. "Bertha the Sewing Machine Girl" was relegated to the farm to ascertain "Why Women Sin" until laundered Hebraic managers rescued those ladies and atmospheric plays became the vogue. During the year 1911 I had splendid opportunities for reflection, retrospect and thought, finding consolation in books pertaining to the drama of the past, present and future. I have found great consolation in going over the theatrical situation under existing conditions. True, I note the devastating results of commercialism, the self-interested remarks regarding the welfare of the drama (and all concerned in it), the fact that too many theatres are being built by managers and stars (with disgusting flaunting of the means employed to construct these playhouses).