LEGITIMATE STAGE

Evening Post, Volume CXXIII, Issue 55, 6 March 1937, Page 14

LEGITIMATE STAGE

RUMOUR AND RESULT

SHEEPLIKE THEATREGOERS

■ Many are the difficulties of theatreland. - They appear unavoidable and perennial. \ One of- the most serious, constant, ■ and ' irritating is Rumour. Playgoers are for some reason peculiarly subject to suggestion. The idea that a certain play is a failure has only to be circulated by enough idle persons for its popularity to be menaced, says a writer in an English paper.

So few patrons of the theatre have the desire, the courage, or, may I add, sufficient money, to test every play as it comes along regardless or other people's opinions, critical or uncritical, that the whole business of visiting theatres resembles the ■ progress of flocks of hypnotised sheep herded into particular folds. They have been assembled not on their own initiative, but by the barking arid growling of the dogs and the shoutingof the shepherds. WHISPERINGS BELIED. How rare and precious is that friend of the stage who determines, regardless of recommendation or criticism, to form his own tastes and select his own favourites. There are such, and may their number multiply. With their aid rumours may be disregarded, and much unexpected enjoyment experienced.' Old Lady Rumour has been particularly busy recently. ■~.-.■ « Amongst the principal objectives of destructive whisperings, fortunately without result, has been the Barrie play at His Majesty's. The fact is that "The Boy David," with Elisabeth Bergner heading a wonderful cast, is drawing over 400 at every performance. A recent week's total came to £3600, and the advance booking (although the fact that the libraries have bought up so man- seats leaves very little to sell) is well over a century a day. Whatever difference of judgment there may be upon the merits of the play or the individual representations in it, there can be no question that popular interest in Bergner and Barrie has suffered nowise, and that the run of the piece will last even longer than was originally anticipated. A NEW YEAR RESOLUTION. With the New Year always comes the new resolution. May I suggest one to the casual theatregoer? Never to pay the slightest attention—in fact, beware of listening to disparaging and depreciating comments, especially if they come from quarters likely to be interested or to be professionally biased. We are nothing, not even as playgoers, if we are not ourselves; if we cannot do, not as others do and because other people do it, but as we feel we want to do in our own range of feelings, ideas, and tastes. Experiment is the 'grandest thing. It may prove disappointing, but it teaches far more than blind subjection to others'1 orders. My happiest and most satisfying moments in the theatre, covering many years, have always come unexpectedly. Many an otherwise bad play has revealed some surprising talent, some novel thought, some worthwhile situation. The worst of actors often provoke a train of thought that stimulates. Do not take your mood from the man next to you. Form your own and stick to it. INDIVIDUAL THINKING. Managers benefit by this cultivation of vogue in plays. And it is not for them to complain. The expert showman has only to bang his drum energetically enough, proclaiming as he does so the success of his show, to be able to persuade many poor hoodlums outside .to walk up and enter who otherwise would pass along. I make a plea for clearer and more individual thinking in the art of theatre-going. When I listen to the poor mutts 'who solicit advice as to where they should go from interested parties utterly' unqualified to recommend, even when their recommendations are sincerely meant, I'despair of the theatre's future. Selection of an evening's entertainment can seldom be securely based upon names, however respected.

The critics disagree more often than they agree. And the only way, in my opinion, really to succeed as a playgoer is to dip one's hand into the theatrical lucky bag and be philosophical in the result.