When the Actors' Equity Association was formed some years ago, it was implied and assumed that although its aim was largely to protect the actor from the questionable practices of a certain type of intinerant manager, it would not extend its influence to unreasonable lengths. Recently, however, in making its demand for an "Equity shop", which is a polite euphemism for the unpleasant connotation of "closed shop", it has shown distressing symptoms.

In spite of the fact that the Equity Association presents the traditionally strong case in support of its demands, the Producing Managers appear to have the more convincing arguments to back up their refusal to come to terms. They have offered substitute proposals, which seem to the casual observer to meet most of the actors requests, but the Equity Association remains recalcitrant.

Protective unions and associations with defensive regulations may well be justified in regard to members of the ensemble, and actors on the vaudeville and burlesque stages, but their reasons d'etre are not so apparent when they involve players of established reputations, who may have spent years in developing the ultimate perfection of their art. a protective organization which keeps Gwendolyn de vere from being stranded in some Northwestern mining camp excuses itself, but when it might undertake to prevent a public appearance of an artist of the stamp of Sarah Bernhardt or Henri Coquelin because of some minor infringement of its rules, it reaches the height of the ridiculous.