WHY WOMEN GO TO PLAYS

Wanganui Chronicle, Volume LXXXI, Issue 18786, 21 May 1923, Page 10

WHY WOMEN GO TO PLAYS

(By Beryl Sage). It is never easy to tell why women do anything, but by studying audiences, listening to remarks between the acts and after the performance, and by questioning individual women, it has been deduced that wo men have three special reasons lor attending theatres —to be entertained, to be flattered, and to see pretty clothes. Even a feminist must confess that the last motive is somewhat sordid, but unquestionably there are women who are disappointed when an actress whose reputation is associated with beautiful gowns appears plainly clad.

Not long ago an actress who played the role of a typiste displeased by her simple attire, and women exclaimed hopefully: “Perhaps she will wear something pretty in the next act.”

At another theatre the heroine played to a frigid matinee audience until she began to lift from her trunk a lot of lovely frocks, when she was applauded frantically.

The second motive arouses more sympathy. At a time when critics of the sex strive to outdo one another in castigation it is but natural that women should flock to any play that presents them in a pleasing light.

The first motive seems far less culpable than it is generally represent'd to be. Why should it be regarded as a sign of mental weakness to seek entertainment at a play? To purge the emotions by pity and terror is desirable, yet one tires of continually scaling dramatic heights. Like most experienced playgoers I have passed through nearly every stage of dramatic allegiance. At one time I h/d a passionate preference for Greek tragedy. Not an Aeschylean, Euripedean or a Sophoclean performance, professional or amateur, did 1 miss. Any stage adaptation of a Russian or Scandinavian novel was sure of at least one patron. My devotion to dramatic poetry was not an affectation; it was an honest passion. But that passed, and for the last five years I have avoided it like the plague. I have not yet reached the point where I can stand revue, but I rejoice unashamedly in simple comedy, in detective thrills, and in farce.

Now, if that applies to me, it applies also to many thousands of other women. The argument that women go to the theatre fresh in body and mind, and that, therefore they should patronise only plays that attempt to solve life’s problems and thus uplift the drama, is fallacious.

Women work hard nowadays. Many of them arrive at the theatre weary. All day they have tackled life’s problems at first hand, and they do not wish to tackle them at second hand at night. Why should this attitude be accounted shameful in woman? Why is it an aesthetic sin to take a play now and then as one takes a warm bath; luxuriate in it for a while and sleep the better for it?

Apparently the most scathing criticism that can bo passed on a play is that it will send audiences homo rested and happy. Well, all I can say is that any play that can be guaranteed to do that can rely on my support.