"Of the making of books there is no end."
And, even to the most enthusiastic student of the stage, it must seem that a sufficiently large number of these books deal with the theater.
At least, they deal with the drama--which is slightly different. It is in this difference that one finds some excuse for the appearance of "The Footlights--Fore and Aft." Here are a collection of papers in which the reader finds no keen analysis of plays and players; no learned review of the past of the playhouse, no superior criticism of its present, no hyperbolean prophecy for its future. The book, in fact, is unique.
One might wish, indeed, that there were more substance to these essays, which reveal the impressions of a reporter rather than the excogitations of a thinker or a philosopher. Mr. Pollock severely lets alone the drama of Greece and Rome. His field is the drama of Forty-second Street and Broadway. He has rendered unto Brander Matthews the things that are Brander Matthews', and unto William Winter the things that are William Winter's.
"The Footlights--Fore and Aft" contains nothing that might not have been set down by anyone with a sense of humor and the author's opportunities of observation. It is true that, in his case, these opportunities have been exceptional. Born in 1880, Mr. Pollock's contact with the theater began as early as 1896, when he became dramatic critic of the The Washington Post. Subsequently, he served in the same capacity with various newspapers and magazines, was reporter for a "trade journal" of "the profession", and acted, for a considerable period, as press agent and business manager. The practical side of play-making and play-producing he has learned in eight years' experience as a dramatist, during which time he has written ten dramatic pieces, among them "The Pit", "Clothes", "The Secret Orchard", "The Little Gray Lady", "In the Bishop's Carriage", and "Such a Little Queen."
Considering the narrow confines of the world he describes, its comparatively small population and its rather meager language, Mr. Pollock should not be blamed too much for a certain sameness throughout "The Footlights--Fore and Aft." There are not more than a dozen prominent managers and a score of well known playwrights in America; whoever elects to write a hundred thousand words about the theater must choose between mentioning these names repeatedly and inventing new ones. Nor is it possible to avoid the recurrence of explanations and instances. You will find something about stage lighting in "The Theater at a Glance", because it belongs there, and something more about it in "What Happens at Rehearsals", because much that follows in this account would not be clear without it. The author did not flatter himself that you would carry his first description with you through a hundred pages, and, perhaps, he didn't want you to spoil a nice book by thumbing back.