The bedroom farce has been exalted into the first place. With the exception of “Ben Hur,” which is favored by Jewish producers apparently because it holds before the public a romantic picture of a Jew (a very un-Jewish Jew, by the way), the historical drama has given way to fleshly spectacles set off with over¬ powering scenic effects, the principal component of which is an army of girls (mostly Gentiles!) whose investment of drapery does not exceed five ounces in weight. * Frivolity, sensuality, indecency, appalling illiteracy and endless platitude are the marks of the American Stage as it approaches its degeneracy under Jewish control.
That, of course, is the real meaning of all the “Little Theater” movements which have begun in so many cities and towns in the United States. The art of the drama, having been driven out of the Theater • by the Jews, is finding a home in thousands of study circles throughout the United States. The people can¬ not see the real plays; therefore they read them. The JEWISH CONTROL OF THE AMERICAN THEATER 93 plays that are acted could not be read at all, for the most part, any more than the words of the jazz songs can be read; they don’t mean anything. The people who want to see the real plays and cannot, because Jewish producers won’t produce them, are forming* little dramatic clubs of their own, in barns and churches, in schools and neighborhood halls. The drama fled from its exploiters and has found a home with its friends.