CHILDREN ON THE STAGE.

Dominion, Volume 4, Issue 1136, 25 May 1911, Page 11

CHILDREN ON THE STAGE.

Is it fair to treat acting as if it had tho same olfect o:i children iu hard labour in factories and elsewhere? (asks'a New I'ork journal). A sharp controversy en this subject is going on, with some oi the best of the children's fricnis divided. Atrs. Florence Kelly will not so to see "Kanigskiuder," "The Blue Bird, or "The Piper," while, on the other hand. Judge Lindsey appears at a benefit given to lvslp those who wish to regulate, but not abolish, stage work by children. Ihe National Alliance for the Protection of Sta"e Children maintains that children of the theatre are, on the average, better educated than other children of the same social and economic environment, and at least equal to them in health. They ask only that children shall he allowed to act when they have a certificate of 'approval from the local Gerry Society, and a permit, rcvokable at any time, from the municipal authorities. Tiie law of New I'ork, drafted by Commodore Gerry, is very strict regarding the exhibitions, which it forbids, but it adds: "This section does not apply to the employment of any child as a singer or musician in a church, school, or academy; or in teaching or learning tho science or practice' of music; or as a musician in any concert or in a theatrical exhibition, with the written consent of the Mayer of the citv or the president of the board of trustees of the village where such concert or exhibition takes place." Those who think this the proper kind of law look upon dramatic training, rightly supervised, as education rather than 'os labour. Ellen T?rry kcran her slags life at six; Mrs. Fiske, Eleonora Duse, Salvini, Ristori, and a largo number, of the most successful actors of our tl.iy started on the stage as children. Little millliands, on the contrary, are not fitting themselves for mastery in business, but rather lessening all tho qualities which make for effectiveness.