It is not important that managers are now Jews whereas managers were formerly Gentiles. That is not important. The importance begins with the fact that with the change of managers there came also a decline in the art and morals of the stage, and that this decline has become accelerated as the Jewish con¬ trol became widened. What Jewish control means is this: that everything has been deliberately and sys¬ tematically squeezed out of the American Theater * except its most undesirable elements, and these unde¬ sirable elements have been exalted to the highest place of all.
The Great Age of the American Theater is past. About the time that Jewish control appeared, Sheri¬ dan, Sothern, McCullough, Madame Janauschek, Mary Anderson, Frank Mayo, John T. Raymond, began to pass off the stage. It was natural that, life being brief, they should pass at last, but the appalling fact began to be apparent that they had left no suc¬ cessors!- Why? Because a Hebrew hand was on the stage, and the natural genius of the stage was no longer welcomed. A new form of worship was to be estab¬ lished.
‘‘Shakespeare spells ruin,,, was the utterance of a Jewish manager. “High-brow stuff” is also a Jewish expression. These two sayings, one appealing to the managerial end, the other to the public end of the Theater, have formed the epitaph of the classic era. All that remained after the