102 The International jew

entertainment that New York cannot duplicate. But neither New York

nor any other American city has that Comedie Fra.ncaise which strives to

counterbalance the evil of cosmopolitan Paris. Where have the Writers

for the Stage a single chance in this welter of sensuousness? Where have

the actors of tragic or comic talent a chance in such productions? It is the

age of the chorus girl, a voluptuous creature whose mental caliber has

nothing to do with the concern of drama, and whose stage life cannot in

the very nature of things be a career.

A third consequence of Jewish domination of the American stage

has been the appearance of the "Sta.r" system, with its advertising

appliances. The Theater is swamped in numerous "stars" that never really

rose and certainly never shone, but · which were hoisted high on the

advertising walls of the Jewish theatrical syndicates in order to give the

public the impression that these feeble lantern lights were in the highest

heaven of dramatic achievement. The trick is a department store trick. It

is sheer advertising strategy. Whereas in normal times a discriminating

public made the "star" by their acclaim, nowadays the Jewish managers

determine by their advertisements who the star shall be.

The Jew seeks immediate success in all but racial affairs. In the

breakdown of the Gentile theater, success cannot be too swift for him.

The . training of artists takes time. It is far simpler to have the

advertisement bills, the venal critics of the Press, serve as a substitute.

The Jewish manager of the day diverts attention from the dramatic

poverty of the theater by throwing confetti, limbs, lingerie and spangles

dazzlingly into the eyes of his audience.

RISE OF THE JEW ISH THEATRICAL TRUST

These ~ree disastrous re sults of Jewish control of the_Theater ~re all

explamed by a fourth : the secret of the change IS found m the

Jewish passion to commercialize everything it touches. The focus . of

attention has been. shifted from the Stage to the box office. The banal

policy of "give the public what they want" is the policy of the panderer

and not that of creative genius. It entered the theater with the first Jewish

invasion in 1885, when two alert Jews established in New York a so-

called booking-agency and offered to take over the somewhat

cumbersome system by which managers of theaters in the big but dtstant