It is true
that specifically first-night merit is a trivial matter compared with
what may be called thousandth-performance merit; but it is equally true
that there is no inconsistency between the two orders of merit, and that
a play will never be less esteemed on its thousandth performance for
having achieved a conspicuous first-night success. The practical lesson
which seems to emerge from these considerations is that a wise
theatrical policy would seek to diminish the all-importance of the
first-night, and to give a play a greater chance of recovery than it has
under present conditions, from the depressing effect of an inauspicious
production. This is the more desirable as its initial misadventure may
very likely be due to external and fortuitous circumstances, wholly
unconnected with its inherent qualities.
At the same time, we are bound to recognize that, from the very nature
of the case, our present inquiry must be far more concerned with
first-night than with thousandth-performance merit.
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