Show Day by Day in Every Play American Au Audiences I Are Ar G Getting t g Ruder Noisier Ass Asserts Jane Cowl I I Famous Actress Thinks All U Talking Should Be BeDone Done on Sfa Stage e eI By Dy Y HO HORTENSE SAUNDERS I NEW V YORK ORi y ORI Nov 3 30 m EA NEA- I The Thc theatre manners of or Salt Lake playgoers are no better bettel and IK no worse than thin those of at New Yorkers Yorkers- bu but there Is 19 a. a steadily t lowering standard of audience all over the countr country This Is according to to Jane Cowl the actress ss The rhio no ta talking picture ma may be bo an In Improvement over the silent drama sh she declared hut Uth th the t talking au au- Is a menace which unless it itcan can ci be quieted will wUI drive from the thc boards the tho few actors and actresses who devote themselves to the legitimate leglU- leglU m mate te drama A year ago playing PlaIn In Boston Doston Miss diss Cowl received great applause and and much wider vider approval bc be because cause causo she stepped out of her stage character character- long enough t to reprove some late corners comers who were audibly audibly audi audi- bly trying to figure out what had happened before they arrived and to ask them t for r the sake Bake of ot the rest of ot the audience to be quiet I DECLARES WAR ViAR ON TALKERS This season eason she h has hs s become a 0 crusader for tor better manners In tho the thoth th theatre atre and has come out militantly militant- militant ly Iy against the talkers I am arn not Including audiences maintained The as a a. whole she disturbing element Is probably only about 5 per cent But It Is 11 sufficient dent clent to take tako the tho Joy out of at theatregoing theatregoing the the- going atre-going for tor the other 95 per cent and It Is wearing out the actor I Modern life lire makes us a noisy people because we are cro continually continual continual- ly I surrounded s by b rackets some come necessary some quite superfluous Our lives unfold unfold amid amid a n crash bang clatter and din that keep us from observing much that Is beautiful and delicate and quiet Everything Everything Every Every- thing Is a a mad rush or scramble Instead of ot something that Is carefully carefully care care- fully tully thought out out and quietly sought forThe forThe forThe for The stage not only reflects our past but hut our present day manners as well wen No Nd N one Is In a better position position position tion to observe the changes we are arC undergoing than we who face an audience eer every evening and have va seen what the Jazz age has hu done to it LEAVES TH THEATRE ATRE Only those who love the tho theatre theatre thea thea- tre an and actors who love their art who r remember the leisurely days and th the fascination players rg had kad for their public realize how fast we weare weare weare are driving from our theatres thea thea- tres tres driving It out with noise and clatter And when the is gone the theatre has hns outlived d Its function That da day will wUl bring the domination domination domina domina- tion of or the tho mechanical audience Miss Cowl believes people believes people who u use e their eyes cars and voices but not their emotions people emotions people who take but do not give Players can be bo no better than their audiences she insists They can do theIr best only when they the h have we attention quiet and a a. re receptive ye- ye e spirit out in front Latec Latecomers Late Late- c corners comers who arrive In Jn a a. dinner mood laughing and talking as the they take tako their thell seats make It Impossible Impossible Im Im- Im possible for any an play pIa to get the tho right ht start or to give the correct emotional approach But how can we expect quiet and punctuality In the theatre when vo wo find It nowhere else Close Chose at attention attention at- at Is not demanded for fOl the tho new v forms torms of at me mechanical entertainment entertainment entertain entertain- ment so 80 It Is not fostered You can go 0 Into a a. movie any anytime tune time and if It you arrive In the middie middle middle mid mid- dle die of at the last act sla stay through the tho next performance You can talk rustle paper cough make re remarks remarks remarks re- re marks about the a actors tors and bo be n fl nuisance anI only to those tho-se around you OU fol for at the movies you do not affect the tho performance of o the tho players play- play ers It was previously recorded in inthe Inthe inthe the uninterrupted silence of th the studio You can talk above the average aver- aver ago age radio program if It you want to to but you ou cannot disturb the speakers speak speak- I ers or musicians i You can go o to ft s. cabaret talk and ind laugh during the program and enter into It yourself because It Is a 0 pliable form of entertainment entertainment entertain entertain- ment and there Is no necessity for creating any an atmosphere but gayety gay gay- ga i ety ely anI and no mood save vo hilarity THIS BOOM BOOM AGE You learn to shriek above traffic traffic fic fie and the tho din and bang bani of ot the machine age because you OU have to 1 SHE ASKS ASK FO FOR SILENCE U UI Ur I r Jc Vr-q Vr I A t I f r 4 F 2 F f- f S 0 4 V i AI r P v. v A S S S 4 4 O. JANE COWL I If it you ou want to be heard But you cannot listen to a 4 symphony In a a. foundry fo odry or enter Into tho the spirit of ot a play In a 4 mad house Since musicians have taken steps step to protect their concert pr programs programs pro pro- grams rams from talkers and lato comers com corn corners ers erSt Miss Cowl believes that theatres thea then tres could well take a a. similar stand I More than once has s put down his baton and his symphony concerts to quiet ll hi his au audiences au an- and this year ear late co comers elS el'S are aro seated anI only at Intermission intermissIons not even between the tho movements of movements or of a a. score I Miss Cowl Indicts not on only the Broadway audience but the the Main Main f street one as well vell for she zhe sn says sas s 's the same samo conditions prevail se generally and that there Is little tittle difference between the attitudes of at the m metropolitan met met- t- t an and tho the smaller city audiences ISho f I Sho believes that tho the passing of or the tho road show show and and she sho is i t trooper troop troop- er Cr who has played in eve y state In the tho union as well as London London- did much to rob the tho stage of orits its Because tho the smaller town audiences loved the theatre and andI I came In the expectant tant rec receptive mood which established such rapport between both sides of at the footlights footlights foot toot lights and made for tor Inspired per per- The theatre she concluded Is Js about the only remaining form torm of ot entertainment enter that Is not me me- It Is Js trying desperately I to h hang ng oh on Those who love lo the theatre need to savo save It from those I who would destroy estro It thought thought- le lessly slY |