The Jewish claim to exceptional genius is not borne out by the theater, although the Jewish will to power is therein amply illustrated.
Belasco’s name comes to mind, perhaps, oftener than any; and Belasco is the most consummate actor off any stage. To understand Mr. Belasco is to under¬ stand the method by which the “Independents” fought the Jewish Theater Trust, and still retained the monopoly of the Theater for the Jews.
The old Trust was bowling along merrily, smash¬ ing everything in its way, thrusting honored “stars” into obscurity, blocking the path of promising play¬ wrights, putting out of business all actors who would not prostitute art to commercialism, and there occurred what always occurs—for even the Jews are not su¬ perior to natural law—a bad case of “big head” was developed.
Klaw, Erlanger and their immediate associates felt themselves to be kings and began to exhibit a few supposedly royal idiosyncracies.
There were some protests, of course, against the arrogance of the Czars of the Theater. The Vander- bilts and other New York millionaires