identity is not revealed by their names or any public knowledge about them.
The Jewish press claims for the Jews, aside from the commercial control of the stage, the control of the fun-making business. “The greatest entertainers, vaudevillians and fun-makers are Jews,” says an article in the Chicago Jewish Sentinel, commenting on the extent to which Jewish actors monopolized the Chicago stage that week.
Among the composers we once beheld Victor Herbert and Gustav Kerker in honorable places; but now the Irving Berlins have forced themselves into places hewn out and established by Gentiles who had a regard for art.
There are no great Jewish playwrights. Charles Klein wrote “The Lion and the Mouse,” but never repeated. There is, of course, much commonplace work turned out for the stage; a commercialized stage needs a certain amount of “product.” Among those engaged in such work are Jack Lait, Montague Glass, Samuel Shipman, Jules Eckert Goodman, Aaron Hoffman, and others.
The Jewish claim to exceptional genius is not borne out by the theater, although the Jewish will to power is therein amply illustrated.
Belasco’s name comes to mind, perhaps, oftener than any; and Belasco is the most consummate actor off any stage. To understand Mr. Belasco is to understand the method by which the “Independents” fought the Jewish Theater Trust, and still retained the monopoly of the Theater for the Jews.
The old Trust was bowling along merrily, smashing everything in its way, thrusting honored “stars” into obscurity, blocking the path of promising playwrights, putting out of business all actors who would not prostitute art to commercialism, and there occurred what always occurs—for even the Jews are not superior to natural law—a bad case of “big head” was developed.
Klaw, Erlanger and their immediate associates felt themselves to be kings and began to exhibit a few supposedly royal idiosyncrasies.
There were some protests, of course, against the arrogance of the Czars of the Theater. The Vanderbilts
