But at the same
time they testify to a desire to introduce into the current theatrical
system more literary and artistic principles than are at present
habitual to it. They point to the presence of a zeal--often, it may
be, misdirected--for change or reform.
The experiment of Mr Benson points more effectively in the same
direction. A public-spirited champion of Shakespeare and the classical
drama, he has maintained his hold in the chief cities of Ireland,
Scotland, and the English provinces for a generation. Although for
reasons that are not hard to seek, he has failed to establish his
position in London, Mr Benson's methods of work have enabled him to
render conspicuous service to the London stage in a manner which is
likely to facilitate reform. For many years he has supplied the
leading London theatres with a succession of trained actors and
actresses. Graduates in Mr Benson's school can hardly fail to
co-operate willingly in any reform of theatrical enterprise, which is
calculated to develop the artistic capacities of the stage.
Other circumstances are no less promising. The justice of the cry for
the due safeguarding of the country's dramatic art by means of
publicly-organised effort has been repeatedly acknowledged of late by
men of experience alike in dramatic and public affairs.
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