The public, of course, does not see and does not know these gods before whom they pour their millions yearly, nor does the public know from what source theatric vileness comes. It is amusing to listen to the fledgling philosophers discuss the “tendencies of the stage,” or expatiate learnedly on the “divine right of Art” to be as flippant and as filthy as it pleases, when all the time the “tendency” is started and the “art” is determined by men whose antecedents would make Art scream!
The American Theater is a small group of Jewish promoters and a large group of Gentile gullibles, and it is only the latter who “kid themselves’* that there is anything real about the matter.
It is perfectly natural, therefore, that the com¬ plete Judaization of the theater should result in its being transformed into “the show business,” a mere matter of trade and barter. The real producers are often not culturally equipped for anything more than the baldest business. They can hire what they want, mechanicians, costumers, painters, writers, musicians. With their gauge of public taste and their models of action formed upon the race track and the prize ring; with their whole ideal modeled upon the ambition to pander to depravity, instead of serving legitimate needs, it is not surprising that the standards of the Theater should now be at their lowest mark.
As theatergoers are noticing more and more, the Jewish manager whenever possible employs Jewish actors and actresses. Gentile playwrights and actors are steadily diminishing in number for want of a market. At times the employment of Jewish actors has been so obtrusive as to endanger the success of the play. This was notably the case when the part of a young Christian girl of the early Christian Era was given to a Jewess of pronounced racial features. The selection was so glaringly inept, ethnically and histor-' ically, that it militated strongly against the impression the play was intended to produce.