Mr Benson's
visits to London have been rare. There he has too often made sport for
the journalistic censors who aim at "commendation of wit."
Even the best-intentioned of Mr Benson's critics in London have fallen
into the habit of concentrating attention on unquestionable defects in
Mr Benson's practice, to the neglect of the vital principles which are
the justification of his policy. Mr Benson's principles have been
largely ignored by the newspapers; but they are not wisely
disregarded. They are matters of urgent public interest. They point
the right road to the salvation of Shakespearean drama on the modern
stage. They cannot be too often pressed on public notice.
These, in my view, are the five points of the charter which Mr Benson
is and has long been championing with a persistency which claims
national recognition.
Firstly, it is to the benefit of the nation that Shakespeare's plays
should be acted constantly and in their variety.
Secondly, a theatrical manager who undertakes to produce Shakespearean
drama should change his programme at frequent intervals, and should
permit no long continuous run of any single play.
Thirdly, all the parts, whatever their significance, should be
entrusted to exponents who have been trained in the delivery of blank
verse, and have gained some knowledge and experience of the range of
Shakespearean drama.
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