What would be the practical effects of a stern resolve on the part of
theatrical managers to simplify the scenic appliances and to reduce
the supernumerary staff when they are producing Shakespearean drama?
The replies will be in various keys. One result of simplification is
obvious. There would be so much more money in the manager's pocket
after he had paid the expenses of production. If his outlay were
smaller, the sum that he expended in the production of one play of
Shakespeare on the current over-elaborate scale would cover the
production of two or three pieces mounted with simplicity and with a
strict adherence to the requirements of the text. In such an event,
the manager would be satisfied with a shorter run for each play.

On the other hand, supporters of the existing system allege that no
public, which is worth the counting, would interest itself in
Shakespeare's plays, if they were robbed of scenic upholstery and
spectacular display. This estimate rests on insecure foundations. That
section of the London public which is genuinely interested in
Shakespearean drama for its own sake, is prone to distrust the modern
theatrical manager, and as things are, for the most part avoids the
theatre altogether. The student stays at home to read Shakespeare at
his fireside.

It may be admitted that the public to which Shakespeare in his purity
makes appeal is not very large. It is clearly not large enough to
command continuous runs of plays for months, or even weeks. But
therein lies no cause for depression. Long runs of a single play of
Shakespeare bring more evil than good in their train. They develop in
even the most efficient acting a soulless mechanism. The literary
beauty of the text is obliterated by repetition from the actors'
minds. Unostentatious mounting of the Shakespearean plays, however