1896; the San Francisco Examiner, 1897; editor of the News Letter and Overland Monthly, 1897. He gave up editorship in 1898 in order to devote his entire time to doing criticisms for the Examiner, which he did for ten years. From 1907 to 1910, he was dramatic critic of the New York Evening Journal; the Herald and Examiner in Chicago since 1910 and it has been said of him that he is the dean of active drama critics in the United States. He is the author of a series of interviews with celebrities of the stage and a conductor of "A Column or Less." He wrote Actor-views in 1923, and a play with Charles Michelson, Mary's Way Out, 1918.
Sticks. The road: rural communities outside the radius of a large city; also called "tank towns."
Stimmung. The name given a motif in German drama during the rise of naturalism in the 19th century which connoted the striving for truth of individual atmosphere and the belief that character is explained to some degree by environment.
Stock. Stock companies were an important part of the American Theatre, 1890- 1925. There were stock companies in many cities as well as in neighborhood theatres in large cities.
A stock company usually has a number of productions ready for performance. The same actors have parts in the various productions and one production is given one week and another the next week. In some cases, the productions are changed every night. Because of the many roles each actor has to perform, stock has always been considered excellent training.
The inroads of movies and radio practically ended stock companies but in recent years "summer stock" developed a new vitality. Throughout the country, but chiefly in the East, resort theatres offering well-known plays performed by resident stock companies have been successful. In some cases new plays that later became New York successes were given their first performance by summer stock companies.
BY STUART WALKER
Perhaps my idea of the term "stock company" is at variance with the accepted meaning of the term. In my sixteen years as an independent manager--and when I say independent I mean independent to the nth degree--I always had a company of at least fifteen regular members with a small number of jobbers or occasional players, and a large number of apprentices. I had no typing in casting. The lead of this week might be playing a butler the next week or not acting at all. In this way I could keep the spirit of the company fresh, and could expect and get the very best from every individual. At any time I could release an actor on very short notice--at his own request in case he had a chance to play a big part in New York--without crippling any branch of my company. Furthermore I could always find a place for him when he wanted to come back. I think a great measure
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Publication information: Book title: The Theatre Handbook and Digest of Plays. Contributors: Bernard Sobel - Editor. Publisher: Crown Publishers. Place of publication: New York. Publication year: 1940. Page number: 737.
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