...I have never known a movement in the theater that did not work direct and serious harm. Indeed, I have sometimes felt that the very people associated with various uplifting activities in the theater are people who are astoundingly lacking in idealism.

...I have never known a movement in the theater that did not work direct and serious harm. Indeed, I have sometimes felt that the very people associated with various uplifting activities in the theater are people who are astoundingly lacking in idealism.

The actor who lets the dust accumulate on his Ibsen, his Shakspere [sic], and his Bible, but pores greedily over every little column of theatrical news, is a lost soul.

Idealistic producing is safe. Sensibly projected in the theater, the fine thing always does pay and always will.

As soon as I suspect a fine effect is being achieved by accident I lose interest. I am not interested...in unskilled labor. ...The scientific actor is an even worker. Any one may achieve on some rare occasion an outburst of genuine feeling, a gesture of imperishable beauty, a ringing accent of truth; but your scientific actor knows how he did it. He can repeat it again and again and again. He can be depended on.

Among the most disheartening and dangerous of . . . advisors, you will often find those closest to you, your dearest friends, members of your own family, perhaps, loving, anxious, and knowing nothing whatever . . .

... most of all the actor will love the boys and girls, the men and women, who sit in the cheapest seats, in the very last row of the top gallery. They have given more than they can afford to come. In the most self-effacing spirit of fellowship they are listening to catch every word, watching to miss no slightest gesture or expression. To save his life the actor cannot help feeling these nearest and dearest. He cannot help wishing to do his best for them. He cannot help loving them best of all.