Motion Picture Classic (Jan-Aug 1919)

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The Stage Y ear Year by year the American speaking stage steadily advances. The entrance of such idealistic — and practical — managers as Arthur Hopkins, Stuart Walker and Winthrop Ames, along with the influence of the small so-called amateur theaters furthering the new stage art movement, have materially advanced American theatrical standards. The past theatrical season has been a remarkable one in every way. With the metropolis jammed with visitors — in both khaki and “cits” — the theaters were bound to show a prosperous year. They reaped a golden harvest, breaking every previous record. Odd phases have marked the year. With the conclusion of the world war came a striking avalanche of comedy, largely of the risque boudoir variety. After that appeared a revival of the romantic drama. Managers, with their hand on the public pulse, believe that the public mind, weary after the years of war worries, has turned away from the introspective, searching, realistic type of play. Thus the drama of silks, satins {Continued oti page 87) Abbe Abbe Above, Lionel Barrymore in “The Jest,’’ lower left, Jack Barrymore i n the same play, and, William Gillette and little Helen Hayes in the enchanted wood scene of J. M. Barrie’s “Dear Brutus” Next year, when many of these stage plays reach the screen, you will want to know about them. This article tells you all about the season’s successes (Twenty-one)