It has long been known among dramatic critics that the reason for the maintenance of “Ben Hur” in the theater for nineteen years is this: it is the most successful of all the vehicles for pro-Semitism now on the stage. That will appear to be a prejudicial statement in the minds of the thousands who have seen and enjoyed “Ben Hur,” but there is truth in it. The point which should not be overlooked, however, is that if “Ben Hur” is useful in framing the public mind favorably toward the Jews, it is not because of a pro-Semitic intention in the story. That may be the intention of the producers, Messrs. Klaw and Erlanger, but it was not the intention of General Lew Wallace.
It would seem that art and fate conspire against the propagandist play, for in no other way can the failure of avowedly pro-Semitic drama be explained. Perhaps there was never such a serious and even strenuous attempt made to force the Jewish controlled theater into the service of pro-Semitism as has been made in recent months. And the attempts, with one possible exception, have been failures. Lavishly produced, heralded by an unbroken clacque of press announcement, swathed in an initial chorus of praise, sponsored by officialdom which had been dragged out to stand godfather to the productions, they nevertheless have failed.
Be it said to the credit of the American Jew that he has been one of the causes of the failure. A most significant and hopeful sign was the reaction of the intelligent Jewish community against the attempt to utilize the stage as a hustings to boost the Jew into an unreal eminence and desirability. Certain competent Jews wrote their opinions about this with much freedom and wisdom. And they evinced a spirit, which, if it could be made to permeate all Jewish activities, would quickly dispose of the Jewish Question under whatever phase it may be considered.
