. The art theatre; a discussion of its ideals . ar superior to the series of settings for poeticplays of the Washington Square Players and thePortmanteau Players. The point to be remem-bered, if one is interested in little theatre and arttheatre economics, is this: while gaining superiorresults artistically, Hume spent for eleven settingsnot more than the cost of two average settings inthese other theatres. It is well to remember, too,that the range covered by the eleven scenes in-cluded such widely differing requirements as theinterior of a mediaeval chateau for The In-truder, the Gates of Th
. The art theatre; a discussion of its ideals . ar superior to the series of settings for poeticplays of the Washington Square Players and thePortmanteau Players. The point to be remem-bered, if one is interested in little theatre and arttheatre economics, is this: while gaining superiorresults artistically, Hume spent for eleven settingsnot more than the cost of two average settings inthese other theatres. It is well to remember, too,that the range covered by the eleven scenes in-cluded such widely differing requirements as theinterior of a mediaeval chateau for The In-truder, the Gates of Thalanna for The Tents ofthe Arabs, the wall of Heaven for The Glit-tering Gate, and a Spartan palace for HelenasHusband. The permanent setting includes the following units: four pylons, constructed of canvas on wooden frames, each of the three covered faces measuring two and one-half by eighteen feet; two 166 The Question of Stage Settings PLASTER UALL PLANTER WALL T«fci-Ft>»Ki BpHpEfSl THE WONDER HAT TENTS OF THE ARABS PIASTER. WALL Ti T*. Pi F» WlNBOW 0
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