This historic book may have numerous typos, missing text, images, or index. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. 1918. Not illustrated. Excerpt: ... this has been the great field of success for such ventures. While his settings have not possessed the extreme beauty and fine truth of those of the Chicago Little Theatre, or of some of the Washington Square productions, they have preserved a sustained beauty of simple, significant effectiveness and have occasionally, as in the mountain background for the second act of The Lady of the Weeping Willow Tree, shown a rare feeling for.color mood. Though the plays presented have always possessed primarily wide human appeal, they have, at all time, measured up to little theater standards of freshness, sincerity, and beauty. It is true that, like the producer's own plays, they have lacked intensity, have failed to "plumb the depths" and to climb the giant peaks of life. One is glad that he has neither the sex nor the horror obsession of so many art theaters; it may be that he desires to fill a practically vacant niche in the drama temple and so limits his design; the limitation, however, seems to be due to a peculiar timidity of expression or lack of growth to full understanding of fundamental life values. His menu is too largely caviar, salad, sweets and nuts, to satisfy the full blooded diner who regularly patronizes his caravansary. Never in his repertory does he, to use a stale expression, come to grips with experience, and never in his plays, except in The Lady of the Weeping Willow Tree, has he given us a greatly ennobling work of art. This play and the vision which led him to produce The Night in Avignon, by our able but neglected poet Cale Young Rice, and the plays of Lord Dunsany, promise us, however, in Mr. Walker a great dramatist and an even greater producer who will go farther still in living up to the best standards of both little and professional...