The 'Sumurun' shows that there is much which we can accomplish without speech. Aside from its value to the drama, pantomime has a large significance for acting. The necessity of making one's self intelligible without words forces the actor to weigh and consider every movement, gesture, and facial action. 'Sumurun,' like all pantomimic entertainments, seems to have no great value in and of itself. It is remarkable for the admirable co-operation of the performers, the potency of trained gesture and studied facial expression. The music, which was written by Victor Holoerder, is excellent in its harmony and appropriateness. The decorative quality of even the shabby scenery used in America is striking. It achieves an artistic, oriental effect without gaudy, costly, or spectacular elements. Perhaps the greatest lesson of 'Sumurun' is for stage managers. All of them might profit by an intensive study of this production. IN BALTIMORE.--The fashionable dramatic club of Baltimore, known as the Wednesday Club, expects to develop a theater for regular amateur performances. This playhouse will be modeled on Boston's 'Toy Theater.' AGAINST THE SPECULATOR.--The Chicago city council has offered to reduce the theater licenses in amounts from one thousand to five thousand dollars if the theater managers will refuse to take back from agencies unsold tickets. Nine managers are said to have agreed to do so. This will aid the public to get good seats without paying advanced prices. Any gleam of civic interest in the real welfare of the theaters is most welcome. The editor of the _Playfarer_ will be glad to receive information about any American dramatic venture, no matter how small or seemingly insignificant. * * * * * THE PLAYHOUSE BY CHARLOTTE PORTER _Civic Experiments in Massachusetts_ When we say 'Civic Theater' we are all so used to thinking in terms of money that we think of nothing but a theater financially supported by a city or community. Yet there are other ways of support that are more vital. A civic theater cannot be created by money, although it requires it. Intelligence demands, therefore, when we say 'Civic Theater,' that we think at once and foremost of these other more vital ways of support. Fortunately we can appeal to historic life for light on these other and more vital ways of support by city or community. Historic life can show us well-ascertained facts concerning drama that has been supported by the civic life of its whole people, and expresses, in consequence, the life of its men of genius, and of its interpretative artists and artisans, along with its racial genius. Because historic life at its great moments of dramatic activity can show us these facts and supplement the bias of the present moment toward but one way of support, I shall appeal to it to make our definition complete and sound.