dates wherever and whenever he wanted them. Goodwin thereupon deserted the alliance of stars and became the henchman of the Trust. (The “Trust” was the name by which the new control was known in these days. The racial name was not given although the racial nature was plainly discerned.)
Nat Goodwin’s star began to decline from that day. He made a final essay as Shylock, and with that he was practically ushered out as a headliner of the serious stage.
Richard Mansfield and Francis Wilson were delivering nightly curtain speeches against the Trust wherever they appeared, and although the public was sympathetic it was very much like the present state of affairs—what could the public do? What can an unorganized public ever do against a small organized, determined minority? The public hardly ever appears as a party in any of the movements that concern itself; the public is the prize for which the parties strive.
The Trust dealt strongly with Wilson. His dates were canceled. Neither his status nor his ability was of any avail to him. One of the Trust made an open statement: “Mr. Wilson is a shining mark, and we determined to make an example of him for the benefit of the lesser offenders.”
Wilson’s strong spirit was finally subdued to see “reason.” In 1898 the Philadelphia members of the Trust offered him $50,000 for his business, and he took it.
In due time Richard Mansfield also surrendered, and Mrs. Fiske was left alone to carry on the fight.
The Theatrical Trust, which must be described as Jewish, because it was that, was at the beginning of the new century in full control of the field. It had reduced what was essentially an art to a time-clock, cash-register system, working with the mechanical precision of a well-managed factory. It suppressed individuality and initiative, killed off competition, drove out the independent manager and star, excluded all but foreign playwrights of established reputation, fostered the popularity of inferior talent which was predominantly Jewish, sought to debase the service of the dramatic critics of the public press, foisted countless “stars” of mushroom growth upon a helpless
