There is a danger, however, in the little theatre idea. Little theatres may grow to have the same sort of insincere "style" and disgusting appeal to social snobbery which are the characteristics of magazines like _Vogue_. As in the case of the magazines, the best thing that could happen would be the appearance of a genius of so much life and power that he could drive the crowds before him and produce his plays in the open air of real public appreciation. The coming of the moving-picture has only aggravated a problem which was previously acute. The crisis is here; for that we must be grateful to the films and the cheap magazines. Shall the rule of the people produce nothing better than a race of commercial craftsmen whose only thought is to make money by exploiting the least worthy instincts of the people? Or shall we produce at least a few courageous leaders who, speaking out of their own authority, shall lead the people after them? The faithful can, while they are waiting, keep alive the sacred fires and scan the horizon for the new prophet. His victory can come, not by compromise, but by aggressive power. There is one growing form of drama which is genuine in its art and may become popular in its appeal; the development of this is being carefully watched by those who are alert. It is but a step from a moving-picture such as D'Annunzio's Cabiria to a spectacle such as Reinhardt's _The Miracle_. The latter is coming to us next winter; Madison Square Garden will be its stage. Sheldon has written an unusual spectacle play which George Tyler will produce. Let these things not be confused with such orgies of stage-setting as _The Garden of Allah_; it is quite possible to use the visual element as a principal means of "getting over" the dramatic expression without doing so badly. To condemn all such productions because some of them happen to be over-realistic, is to condemn all painting because of Meissonier.