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Abstract
The New Theatre (1909–11) remains one of American theater history's enigmas. Patterned after the great European national theaters and financed by millionaires, it was incorporated as a resident stock company that would play repertory instead of promoting stars and popular plays. Free from the pressures of commercialism, it was committed to the highest standards of literary and artistic excellence. Yet, the venture failed in two seasons. Why? The reasons were many.