that even had the police interference been the genuine result of outraged official minds, the fact that the Jews of New York are represented in the judiciary out of all proportions to their numbers, would have rendered the Jewish producer free from interference. In any event, the piece was not molested. The sale of narcotics is illegal, but the instilling of insidious moral poison is not.
The whole loose atmosphere of “cabaret” and “midnight frolic” entertainment is of Jewish origin and importation. Mention the best known and the worst known, they are all Jewish. The runway down which less than half-dressed girls cavort, fluttering their loose finery in the faces of the spectators, is an importation from Vienna, but a Jewish creation. The abuses of the runway will not bear description here. The Paris boulevards and Montmartre have nothing at all in the nature of lascivious entertainment that New York cannot duplicate. BUT neither New York nor any other American city has that Comedie Francaise that strives to counterbalance the evil of Paris.
Where have the writers for the Stage a single chance in this welter of sensuousness? Where have the actors of tragic or comic talent a chance in such productions? It is the age of the chorus girl, a creature whose mental caliber has nothing to do with the matter, and whose stage life cannot in the very nature of things be a career.
It is only occasionally that a great writer for the stage, a Shaw, a Masefield, a Barrie, an Ibsen, or any Gentile writer of merit, is permitted to get as far as actual production, and then only for a short period; the stream of colored electric lighting effects, of women and tinsel closes in behind them and they are washed away, to survive in printed books among those who still know what the Theater ought to be.
A third consequence of Jewish domination of the American stage has been the appearance of “the New York star” system, with its advertising appliances. The last few years of the Theater have been marked by numerous “stars” that really never rose and certainly never shone, but which were hoisted high on the advertising walls of the Jewish theatrical syndicates in order to give the public the impression that these
