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Our government and our private philanthropies are already organized to offer the fullest scientific cooperation to our returning fighters and to other citizens who have suffered from the shocks of war, in order to bring our physical stamina back to par.
Our entire educational system, from the secondary school to adult education, is laying foundations for a new "liberal" structure to develop the minds of the community. And although every community will probably not get the education it desires, it will, very likely, get the education it deserves.
But the soul of a community, unlike the body and the mind, builds not only with what we get but with what we give. A lively soul does not require much pampering. All it needs is not to be stifled by the "super-colossal" or the singing commercial and to be given peace and room enough to spread its wings; or, to put it in another way, time and
January, 1945
the opportunity to contemplate and to create. The soul of a community most often finds outer expression through the arts, music and painting, architecture and poetry and through all of these arts fused in the arts of the theatre.
The theatre building is a natural home and a focus for a city's creative endeavor. It can be a resting-place, a workshop or a laboratory, an arena or a forum, an approach to reality or an escape from it into the world of the imagination, a vista down the past or into the future. Its workers can dig into the soil and the history of the land and the people and relate them to other times and other peoples. If we have the desire and the talent and the will to make it so, every community theatre can be made a mirror of the life and the hopes of the town in which it exists. It is something worth thinking about and worth working for — now, at the hour of change.
"ALL THE WORLD'S A STAGE"
John Keinblc was performing one of his favorite parts at a small country theatre. From time to time he was interrupted by the squalling of a small child in the gallery. At last, annoyed by the rival performance, Kemble walked solemnly to the front of the stage and addressed the audience. "Ladies and gentlemen, unless the play is stopped, that child cannot possibly go on!"
An extra came up to Helen Westley, elderly character actress, who had appeared on the movie set. "Why, Miss Westley, she gushed, "what arc you doing in this picture?"
"My dear," the reply sped back, "hadn't you heard? I furnish the sexagenarian appeal."
No actress ever enjoyed a more touching tribute than one received by Helen Hayes when she was portraying the role of Mary of Scotland. One winter afternoon she emerged from the stage door just as darkness was falling, and there stood a small boy gazing rapturously up at her. He said nothing, but on the next afternoon, he was there again. And after several successive matinees, he still appeared faithfully. One afternoon he •stepped forward impulsively and thrust something into her hand. As he fled down the street, Miss Hayes found she was holding a small box. She opened it and found a little gilded medal that bore the inscription, "Scholarship Medal. Public School 41. 19?}."