Dunsford. What are the causes then of the decline of the drama?
Milverton. In England, or rather in London,—for London is England for dramatic purposes; in London, then, theatrical arrangements seem to be framed to drive away people of sense. The noisome atmosphere, the difficult approach, the over-size of the great theatres, the intolerable length of performances.
Ellesmere. Hear! hear!
Milverton. The crowding together of theatres in one part of the town, the lateness of the hours—
Ellesmere. The folly of the audience, who always applaud in the wrong place—
Dunsford. There is no occasion to say any more; I am quite convinced.
Milverton. But these annoyances need not be. Build a theatre of moderate dimensions; give it great facility of approach; take care that the performances never exceed three hours; let lions and dwarfs pass by without any endeavour to get them within the walls; lay aside all ambition of making stage waves which may almost equal real Ramsgate waves to our cockney apprehensions. Of course there must be good players and good plays.
Ellesmere. Now we come to the part of Hamlet.
Milverton. Good players and good plays are both to be had if there were good demand for them. But, I was going to say, let there be all these things, especially let there be complete ventilation, and the theatre will have the most abundant success. Why, that one thing alone, the villainous atmosphere at most public places, is enough to daunt any sensible man from going to them.
Dunsford. There should be such a choice of plays—not merely Chamberlain-clipt—as any man or woman could go to.