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The opening in the old home of burlesque, surrounded by shooting galleries, tattoo artists and cheap sex movies for “adults only,” was attended by the top layer of Washington New Deal and left-wing weepers and critics for the Negro press and the Daily Worker. The show was panned by the other reviewers. It closed prematurely, after five days. Producer Michael Meyerberg said, “We shouldn’t have opened in Washington.”

After that, the theatre limped along, sometimes lighted, sometimes dark. The Negroes showed no zeal to patronize it. The whites passed it up. Now the Theatre Guild is sending shows there, subsidized by highbrow subscribers.

Many who want to see good drama go to New York. There’s usually a Broadway hit playing in Baltimore.

During the summer, attempts are made to present road shows of New York companies on The Water Barge, in the Potomac, and in some neighborhood playhouses. Regardless of the success of some individual play, Washington can be written off as a theatre town.

Despite all the hardships, there are always optimists, especially when they can get their names in the papers. One of these is Congressman Klein, of New York, a screaming New Dealer, who represents one of Gotham’s most poverty-stricken neighborhoods. Klein is trying to get the government to spend $5,000,000 for a national theatre. Naturally it is to be named the Franklin D. Roosevelt Memorial Theatre. Some of his constituents need shoes, but F.D.R. needs another monument. His bill forbids barring any person from appearing in it or attending it because of race, creed, color, religion or national origin. It would be conducted by the Secretary of the Interior, who at this writing is that well-known showman, Oscar L. Chapman, of Denver, Colorado, who is a co-founder of the Spanish-American League to Combat Exploitation of Mexican Workers in the United States, an arty cause, no doubt.