It would seem that art and fate conspire against the propagandist play, for in no other way can the failure of avowedly pro-Semitic drama be explained. Perhaps there was never such a serious and even strenuous attempt made to force the Jewish controlled theater into the service of pro-Semitism as has been made in recent months. And the attempts, with one possible exception, have been failures. Lavishly produced, heralded by an unbroken clacque of press announcement, swathed in an initial chorus of praise, sponsored by officialdom which had been dragged out to stand godfather to the productions, they neverthe¬ less have failed.
Be it said to the credit of the American Jew that he has been one of the causes of the failure. A most significant and hopeful sign was the reaction of the intelligent Jewish community against the attempt to utilize the stage as a hustings to boost the Jew into an unreal eminence and desirability. Certain competent Jews wrote their opinions about this with much freedom and wisdom. And they evinced a spirit, which, if it could be made to permeate all Jewish activities, would quickly dispose of the Jewish Question under whatever phase it may be considered.
RISE OF THE FIRST JEWISH THEATRICAL TRUST 101 It is this spirit of judging Jewish interests in the light of the whole which promises a helpful and lasting solution of all the differences which unfortunately have been permitted to arise between the people of Judah and the others.
The fact of Jewish control of the theater is not of itself a ground for complaint. If certain Jews, working separately or in groups, have succeeded in wrenching this rich business from its former Gentile control, that is purely a matter of commercial interest. It is precisely on the same footing as if one group of Gentiles won the control from another group of Gen¬ tiles. It may be regarded as a business matter.