The theatre of science; a volume of progress and achievement in the motion picture industry (1914)

0 f @) C i C n C C 225 Daniel Frohman does, and their views as to the benefit of the new mode of public entertainment to the old will become more pronounced as the screen begins to reveal the maze of play productivity of other days, and with more than half of the nation's favorite players facing the cameras, instead of audiences as of yore. In truth, the year 1914 should go down in history as that of an epoch when as a result of "The Theatrical Movement," the stage and its people have, indeed, come into their own. Not since the late B. F. Keith inaugurated what was called the "legit." invasion has the field of the theatre been provided v/ith so helpful an outlet for plays and players in a new field. This is so true that the day may be near when vaudeville's acknowledged reputation for having created more home owners and colonies of prosperous stage folk than all other branches of the amusement field combined, will no longer represent existing conditions. There are hundreds of photoplayers, directors, authors and kindred affiliatives of a tremendous industry who have purchased homes and estates in the last five years. The film industry has created a greater domesticity for the actor in the second decade of the 20th century than the theatre along other lines has known since its inception. But Mr. Brady, while wholly correct in his theories as to the outlook for the speaking stage, has not indicated the possibility that the vogue of photoplays will continue to increase despite the fact that it is constantly enlarging the public following for the type of entertainment of v/hich he is so successful a producer. On the contrary, Mr. Brady is inclined to predict a decline in public interest in the visualized plays, ig