The dangers inherent in the "star" principle of the actor-manager
system may be frankly admitted, but at the same time one should
recognise the system's possible advantages. An actor-manager does not
usually arrive at his position until his career is well advanced and
he has proved his histrionic capacity. Versatility commonly
distinguishes him, and he is able to fill a long series of leading
roles without violating artistic propriety. At any rate, the
actor-manager who resolutely cherishes respect for art can do much to
temper the corrupting influences of commercial capitalism in the
theatrical world.
It is probably the less needful to scrutinise closely the theoretic
merits or demerits of the actor-manager system, because the dominant
principle of current theatrical enterprise in London and America
renders most precarious the future existence of that system. The
actor-manager seems, at any rate, threatened in London by a new and
irresistible tide of capitalist energy. Six or seven leading theatres
in London have recently been brought under the control of an American
capitalist who does not pretend to any but mercantile inspiration. The
American capitalist's first and last aim is naturally to secure the
highest possible remuneration for his invested capital.
Pages:
159
160
161
162
163
164
165
166
167
168
169
170
171
172
173
174
175
176
177
178
179
180
181
182
183