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Show vrs??i -i ,vi ftri r?y vi nr liSV-"'! TltBTI.IISiTilrAT. ftTiniCATB. Collier's' Weekly prints an Inteiot-Ing Inteiot-Ing Joint debate on the question of tho theatrical trutt, In which Marc K.aw writes for the trurt and Minnie Mai. dern Flske expotet Iti evils. Do.h articles are strong and logical, a;d together they make quite u thorough atatemtnt ot the whole aubject. An Impartial Judgment on the ev.denco at hand would teem to bo that tho trctt la a good thing frcm the business view, point and a had thing for theatrUal trt, Mr. Klaw prlntt the text of the preamble pre-amble to the trutt agreement, show. Ing that the reasons for the organisation organisa-tion were the losses caused by Ind a-criminate a-criminate bookings tnd by long and cos.ly railroad "Jumps." Thus, the syndicate was formed at a colotul kooklng agency, owning or controlt.nj ttxty or teventy theaters In the larger cities of the United States. Ily having hav-ing a continuous chain of theaters across the continent the syndicate It able to offer to managsre a tyt.emit-lo tyt.emit-lo and economical aerlrt of cngagi-ments. cngagi-ments. Mr. Klaw contends that the trust Ii a succass, because In the second year of its career the receipts ot the theaters the-aters Interested had almost doubled. That It haa helped every local maa-ager maa-ager who has put his buslncess Into the hands of the syndicate Is, apparently, ap-parently, shown by the fact that a.l have voluntarily renewed their contracts con-tracts until 10CG. though tho present contract doea not expire before next August. Tho trust Is also able ts boast, with pardonable pride, that no company on lit circuits has ever bioa stranded, and that the pay of actors haa thus been mado more secure. These and similar points teem to show that the trust It a good thing financially finan-cially for those on tne Inttde, though It muat be remembered that It hit never yet been tetted with an era ot hard timet among tho people. Mrs. Flske Is the only noted s'ar who contlnnet to fight the syndicate, and her Indictment ot It Is twceplrg and forceful. Her main point Ii that the trust managers never look atJJtf stage except through the box1 iaci window that business It everyifilcf and art nothing to them, and tbit t: standard ot theatrical art Is madly being lowered. "Under syndicate control," con-trol," she says, 'vulgarity, frivolity, coarseness, and, nbovo all, mediocrity, have nourished." She Justly holds that whenever any builccu me.bod Interferes In-terferes with the art side of tht theater the-ater It becomes a curse. She bolls that the money-making plans ot the trust have not been confined to saving sav-ing the waste of useless railway Journeys Jour-neys but have been centered on letting let-ting their playa more cheaply and In producing them more cheaply. Tbs cheap plays nre secured by accept'ee those which havo bren tied and Ian proved successful abroad, thus encouraging en-couraging American dramatic taiesl The cheap production Is secured by employing many mediocre ac.ors, "Ta syndicate system exploits the meJIocrs rather than the artistic, because It eg exact from mediocrity a larger shirt et the profits," Tetho trust's claim that It does not moMpolIxe all tho theaters Mrs. risks repfts that there Is no longer any Incrttlve for an Independent manager to JscoviT and develop a good play, becHso, even It It Is successful In one city be ct aot take It elsewhere, alncs the trust controls nearly all the de-1 de-1 1 ratio theaters. Tho truit Itself will notixplolt new playa or new talent, yet i prevents others from doing so. Tha: there Is n considerable degrco of trot) In these tatcm"nts can scarcely bo nled. Whether tho syndicate ays-tcowlll ays-tcowlll ultimately work out the deg raiOon of tho American stago and thedownfall ot tho trust Itself Is a qudlon which the public Is apparently apparent-ly tilling events should solve. At ths syndicate Is equally willing to cocMo In the future, It appears to b snooer ot those cases In which thert Is tithing to do but to watt and set whs wo shall tee. louTiinr. ami riir.TTr. SeHleen Tear Ol.t Klll ! fremiti lrtr. filla I,co It one ot tho youngest nnlmost accomplished dancers now bebe the public Her specialty ll bud and wing dancing, but she Is also an slept In tho exposition ot practical) practi-cal) every other known danco stop, I GTKM.A I.EC. 1(r movements are said to be ex-irexly ex-irexly graceful, her Idea ot rhythm relet, and the plcturo which sho pre-sea pre-sea Is attractive and winsome. I'os-Luf I'os-Luf a part of her great success and rjeslarlty la due to the costumes wbai shu' wears. They are an ample dlsjl f of tho lavlshncss and good tare which can be applied to the, ap-pii; ap-pii; of a performer such as she la. Mia Lee Is only seventeen years old, nn( urlng tho past nine years has daic d her way Into papular admtra-UaZ admtra-UaZ She Is protty, and her ability, rlfv Ity nnd personal charms give praise of a brilliant future In her chS a art. , ? ai'i:5ii:nt ioir. 0 rgo Dubois' bronto bust ot Che; n was recently set up In the Lux-eci Lux-eci irg gardens In Paris. The faco lite led from the portrait of tha corn-poo corn-poo painted by Delacroix and now j Ci i porsettlon of Marmontel. Jl I'ssldor," by Umllo Zola and At-frei At-frei llrunneau. It to be revived at thf Irand opera In Paris, and "Attar "At-tar " by Loult De draraont and Xirfcr Leroux, la to havo tho mott spx acular effects ever seen In any opj i produced at the National the-abr the-abr In years. 9 H1NNIC SUddcbN F1SKB. ( lHJi |