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Following the company’s reorganization in 1908, which retired the impresario, Heinrich Conried, Kahn tolerated only two more years of deficits under the new general manager, Guilio Gatti Casazza. Auditable 24 modern cosmopolitan accounts were introduced, and then a study of expenses was undertaken in 1909 by commercial theater producer, Charles B. Dillingham, acting as an outside consultant. 15 The story of the New Theatre unfolded and climaxed in the same time frame. Kahn’s first major attempt to subsidize serious, noncommercial theater, the New Theatre was a millionaire’s philanthropy that promised at once to equal the Metropolitan Opera in grandeur and the New York Public Library in democratic idealism.

Quoted in Pankratz and Morris, Future of the Arts, 252–53. 43. Foundation Center, “After Holding the Line for Two Years, Foundation Giving Declined in 2003,” press release, April 5, 2004, http://fdncenter. html (accessed November 8, 2005). 4 4. org (accessed February 20, 2005). 45. org/magazines/2000–01/lamarche. html (accessed February 20, 2005). 4 6. Ben Cameron, “Systems and Survival,” American Theatre 22 (April 2005): 4. 47. org (accessed October 19, 2005). 48. cfm (accessed November 7, 2006).

2. Alexander Woollcott, “Second Thoughts on First Nights,” New York Times, April 25, 1920. 3. Lee Simonson to Kahn, November 13, 1932, Otto H. Kahn Papers, Department of Rare Books and Special Collections, Princeton University Library (hereafter, Kahn Papers). 4. Kenneth Macgowan to Kahn, September 7, 1924, and June 25, 1923, Kahn Papers. 5. Jack Poggi, Theater in America: The Impact of Economic Forces, 1870–1967 (Ithaca: Cornell University Press, 1968), 140. 6. Theresa M. Collins, Otto Kahn: Art, Money, and Modern Time (Chapel Hill: University of North Carolina, 2002).