Of course an itch to lay hands on the theatre was begetting restlessness in the American bosom considerably prior to April 6, 1917. It is part of this country's Puritan inheritance to believe that playgoing is somehow bad, that an enjoyment and patronage of the theatre is sinful. This belief flows as an unconscious undercurrent in the thought even of those clergymen who try pathetically hard to seem and be liberal and unpharisaical, the kind who always begin their lectures on Avery Hopwood by saying that they yield to no one in their admiration and respect for the many splendid ladies and gentlemen of the stage whom they are proud to number among their acquaintances.
Shaw, in his comparatively mild-mannered preface to "The Showing Up of Blanco Posnet," recognizes the Puritan hostility to the theatre, but, somewhat perversely, ascribes it to the fact that the promenoirs have always been used as show-windows by the courtesans of each generation. I suspect, however, that that hostility was more deeply rooted. The Puritans disliked the theatre because it was jolly. It was a place where people went in deliberate quest of enjoyment. And you weren't supposed to do that on earth. Plenty of time for that later on.
When I was a knee-breeched schoolboy in Philadelphia, some of the more dissipated of us used to organize Saturday excursions to Keith's old Eighth Street Theatre, a vaudeville temple known to the natives as the Buy-Joe. Fortified with a quarter and some sandwiches, one went at eleven in the morning and hung on till the edge of midnight. To my genuine surprise and confusion, I gathered that some of our classmates not only avoided these orgies, but sincerely believed that we, who indulged in them were simply courting Hell's fire. They stayed at home and, I suppose, read "Elsie Dinsmore."
It so happens that I never encountered that book during my formative years, but was in my hopelessly corrupted thirties before ever I saw a copy. Even then, it did not lack interest. And one passage, at least, richly rewarded a glance through its pages. It seems that Elsie, arriving from somewhere, reached some city in the late evening. Her father (a rakish, devil-may-care fellow who thought it was all right for Elsie to play the piano on Sunday) met her at the station and engaged a cabriolet to take her across town to whatever shelter had been selected for the night. As they were bowling along one of the principal streets, Elsie noticed a building which the author described in shuddering accents as having, if I remember correctly, "a lighted façade." The tone, if not the precise words of the description, rather suggested that here was a gambling hell whose lower circles were dedicated to rites of nameless infamy. Elsie shrank back into the cloistered shadows of the cab. "Oh, father," she cried in hurt bewilderment, "what kind of place was that?" Smitten, apparently, with a certain remorse that he had suffered her virginal eyes to reflect so scabrous a spot, he put a sheltering arm around her and said, sadly: "That, little daughter, was a THEATRE."
At which limp climax, perhaps, you smile a little. But it is well to remember that the children who were molded by "Elsie Dinsmore" are now grown up and can be detected voting warmly at every election. Many of them kicked over the traces long ago, but there are also many who are reading Harold Bell Wright today. They admire Henry Ford. They sit enthralled at the feet of Dr. John Roach Straton. And, not wryly but with undiscouraged faith, they vote away for the Hylans and the Hardings of each recurrent crisis. They brought the bootlegger into existence and, at a rallying cry lifted by anyone against the theatre, they will come scurrying intently from a thousand unsuspected flats and two-story houses.
They are the more responsive to such cries since the war. That might have been foreseen by any one at all familiar with the psychopathology of reform. A cigarette addict who, in a spartan moment, swears off smoking, is familiar enough with the inner gnaw that robs him of his sleep and roils his dinner for days and days. His body, long habituated to the tobacco, had dutifully taken on the business of manufacturing its antidote. When the tobacco is abruptly removed, the body continues for a while to turn out the antidote as usual and during that while, that antidote goes roaming angrily through the system, seeking something to oppose and destroy.
A somewhat analogous condition has agitated the body politic ever since the late Fall of 1918. The passage of the Eighteenth Amendment had robbed the prohibitionists of their chief excitement; then the signing of the Armistice took away the glamor of public-spiritedness from all those good people who had had such a splendid time keeping an eye on their presumably treasonable neighbors. Behold, then, the Busy Body (which is in every one of us) all dressed up and nowhere to go. The itch became tremendous. The moving pictures caught it first. No wonder the American playwright is uneasy. He ought to be.
He dreads a censorship of the theatre because he suspects (not without reason) that it will be corrupt, that it will work foolishly, and that, having taken and relished an inch, it will take an ell.
He is the more uneasy because he realizes that the theatre presents a special incitement and a special problem—a problem altogether different from that presented by the bookstall, for instance. The play, once produced, is open to all the world. It may have been written with the thought that it would amuse Franklin P. Adams, but it is attended (in a body) by the Unintelligentsia. It may have been heavily seasoned in the hope that it would jounce the rough boy of Baltimore, H. L. Mencken-and lo, there in the third row on the aisle, is Dr. Frank Crane, being made visibly ill by it. Your playwright may write a piece to touch the memories and stir the hearts of elderly sinners, but he has to face the fact that the girls from Miss Spence's school may come fluttering to it, row on row.
On his desk is a seductive two-volume assemblage of "Poetica Erotica," edited by T. R. Smith, the antiquarian. It is a book which, if flaunted, would agitate the Postmaster General, stir up the Grand Jury, and make the Society for the Suppression of Vice call a special mass-meeting. It is managed as a commercial article by a system of furtive, semi-private sales which probably enhance its value as a source of revenue and yet shut the mouth of the heirs of Anthony Comstock. A folder announces that the juicy Satyr icon of Petronius Arbiter will shortly issue from the same presses. And so on, endlessly. It is a neat arrangement but one which cannot be imitated by the playwright. When he wants to be naughty, he must make up his mind to being naughty right out on the street-corner where every one can see him.