The New York Clipper (January 1920)

January 7, 1920 THE NEW YORK CLIPPER 13 Founded io US) by Frank Queen Published by the CLIPPER CORPORATION Orland W. Vsugban....President and Secretary Frederick C ltuller .......Treasurer 1604 Broadway, New York Telephone Bryant &1176118 WALTER VAUGHAN. EDITOR Paul C Swinehart, Managing Editor other branches of theatricals, where they might find some of the things mentioned, in.their roles and leave burlesque shows to the men who have devoted their lives and. money to raise the standard of the business to a plane that is very high. NEW YORK, JANUARY 7, 1920. Entered June 34, 1879, at the Post Office at New York, N. Y., as second class matter, un- der the act of March 3. 1879. THE CLIPPER is isaued every WEDNESDAY. Forms Close on Monday at 5 P. M. SUBSCRIPTION One year, in advance, *5; six months, S2J0; three months. $1.25. Canada and foreign post- age extra. Smile copies will be sent, postpaid, on receipt, of IS cents. ADVERTISING RATES FURNISHED ON APP LICAT ION Chicago Office—Room 841, State Lake Bide. Hasxt F. Rosa, Uaxacaa. Son Frandaco Offic*—fiJO Market St. R. Coma. MAWAcam. Addresa All Communications to THE NEW YORK CUPPER MM B roadway. Now York Regii-.ertiS C«M» Adirm: "Authobitv." Till CLIPPM CAM II OBTA1ND WHOUSALI AMD html, at-our agents, Gorringc American News Agency. 17 Green Street; Charing Cross Road, London, W. C, England; Brentano'a News De- pot, 37 Avenue de rOpera, Paria, France; Gor- . don & Gotch, 123 Pitt Street. Sydney, N. S. W., Annralla. The Manager* Were Right When prohibition was about to go into effect last July 1, managers were asked what they, thought its effect on the theatrical business throughout the coun- try would be. For the.most part, they were in accord in saying that national prohibition would bring increased patron- age to, the ^theatre. And the few that dissented "were simply voicing the "grudge" feeling that lurked within them against the law's enactment, rather than their logical analysis of the situation. Almost six months have now elapsed since the country went dry. During that time the theatrical business has experi- enced a period of unprecedented pros- perity. This is not proven by the busi- ness done in the theatres of the larger cities alone, for houses in every hamlet, village and town have taken on a new lease of life and are attracting hordes of amusement seekers daily. All of which proves that the managers were right; that the managers are watching the pulse and impulses of the people carefully and that they seem to be able to adjust their enterprises more quickly than any other class of business CENSORS AND BURLESQUE One branch of theatricals that so-called reformers delight in picking on is bur- lesque. Why they do this is hard for one familiar with this end of the show busi- ness to understand. Recently a meeting was held in New York by censors from up in New Eng- land who came here to see Broadway and to tell the officials of the Columbia and American wheels how they should run their business. They hare even made a set. of rules that must govern all burlesque shows playing every city on the wheels. Censors Gamble, of Providence, and Casey, of Boston, after a two-day meeting in New York, submitted six rules that must be carried out, not only in the cities they are drawing pay from, but from others as well. Why all this? - The rules, or at least the most of them that they have drawn op, have been in force for some time. They speak of "cooch" dancers, which have not been seen regularly in burlesque for a number of years. Also, the "shimmy" is slammed, as are bare legs or feet, although the latter can be ex- hibited with special permission. What does that mean? Why the "spe- cial permission"? The circuit won't give it. So why should these censors want to give it to certain ones? They also speak of one-piece suits "worn to display the female figure." What other reason would they be worn for and as long as the wearer conducts herself properly (as the house manager always sees that she does) no harm can come from it. They do not like the "dope" character either and have barred it. Do these gen- tlemen understand that this character is portrayed more in ridicule than anything else? Nobody would ever be tempted to use drugs by the imitations done on the stage, for they are always in ridicule. Using indecent and profane language is a thing that has not been, allowed for so many years, that it would be a novelty to hear it now. Ordere for performers to work on the stage only were issued by both circuits at the beginning of the present season, and it is up to the house manager to see that rules are carried out. It woald be a good suggestion, we think, for these censors to save the ex- pense of coming to New York for an- other meeting, whieh they announce they intend to do shortly, so far as burlesque is concerned, and devote their energies to LIKE AUSTRALIAN TIME Editor N. Y. Clipper: Dear Sir:—Just a few lines about con- ditions in Australia and New Zealand. We have been out here since February 25 last and have been working continuously ever since. We have played thirty-flye weeks in eight' houses, from three to six weeks in each town. At present there are very few important acts out here. These have been out here about two years. We are the newest im- portations, excepting Archie and Gertie Falls, who came out for Mcintosh, but are now on the Fuller circuit, and Eddie Mon- trose, who came out with Harry Lauder. He is now playing the Fuller New Zealand circuit for eight weeks before going to South Africa for the African Theatres Trust, booked through Ben and John Ful- ler. Conditions are better now than at any other time in the history of Australian vaudeville. There is a shortage of acts and a big demand. The salaries are on a par with those in America, but, of course, that is figuring your expenses paid on all circuits. The management pays every- thing. An act's only expense here is laun- dry and hotel and whatever they care to spend on personal luxuries. An act work- ing for $125 is equal to $200 in the States. Every act plays three or four weeks in each, house. Their hotel bill averages from $7.50 to $10 per week. They have no com- mission to pay to agents. They get no telegrams. Baggage hauling and excess is paid. Railroad fares paid. No tips, Con- tracts call for no tipping. No lay offs ex- cept while traveling, and the longest jump possible is by boat from Australia to New Zealand, where, of course, your accommo- dation is provided and, consequently, costs you nothing to lay off. On an average, each act loses one day every four weeks. The income tax is small. It cost us $20 for $2,000 income. Street car fares are only two cents a section, four-cent limit; taxi cabs, 24 cents per mile, regardless of the number of pas- sengers. Phone calls, two cents; tele- grama, sixteen to twenty-four cents for twelve words, including address and signa- ture; clothing, none better anywhere, very cheap in comparison to America. Some American acts here recently are The CamiUe Trio; The Faynes, just left for America; Archie and Gertie Falls. The Juggling Creightons, Correlli Trio, Moon and Morris; Hazel Vaughn, gone to America; Al Bruce Revue Co., Bert Le- Blane and Jake Mack Revue Co., Tom Haverly Revue Co., Louie London, and Tompini's Magicians. Prince Torapuii just returned to America. These are about all the American turns out here at present. . All. American acta are a riot here if they have anything at UL And any act that can get this time should grab it. It is wonderfuL One ahow nightly, with one or two matinees weekly, except in Sydney, Melbourne and Adelaide, when there are two shows daily to wonderful audiences. Guess I have told you all, so will close for now, with .best wishes to The Clipper, we are, Sincerely yours, JOE AND VERA WHITE AND TEXAS, "A Vaudeville Chop Suey." Dunedin, Nov. 16, 1019. 25 YEARS AGO Victor Herbert, cello virtuoso, composed "Prince Ananias," an opera without a tenor role and with the principal roles for the baritone, the contralto and the comedian. 0. T. Dazey produced "The War of Wealth." "Poor Little Mary," by Maurice Levi, was being sung by leading vocalists. Mr. and Mrs. Kendal produced "Lady Clancarty." "The Case of Rebellious Susan". wag produced at the Lyceum Theatre, New York, with Isabel Irving in the title role. "The Fatal Card" wag produced at Pal- mer's Theatre, New York, with Wm. H. Thompson, Amy Busby, W. J % . Ferguson, E. J. Ratcliffe, Agnes Miller and May Robson in the cast. H. W. Petrie published "I Don't Want to Play in Your Yard" and "Come to the Arms of Your Baby." J. J. Dowling produced "Capt. Hearne.' The bill at Koster and Bial's, New York, included Les Four Die*, Leg Mayos, Eu- genie Petrescu, Paul Cinguevalli, Mons. Bruet Riviere, Rossow Brothers, Amelia Glover, I. Tscbernoff. Flora Irwin and M» Avoy and May. Rialto Rattles HE SHOULD WORRY. Jim Thornton should worry about the country going dry. Christian science is left, ' '• HER PASSAGE GUARANTEED We read that Madelaine Delmar has been signed for "The Way to Heaven." We didn't know you had to sign up to go there. t* Answers to Queries IN THE SIDE SHOW TENT " ~ We read that Mr. and Mrs. Fox Lud- low, circus performers, received a baby boy from a stork. They may do it that way in circuses, but ALL THE SAME Rumored that Ray Comatock's ahow, "Zip, Goes a Million," is going to be re- named. The new title should be "Zip Goes a Ton of Coal." NEW VERSON Oh, it's always dry weather When good fellows get together, With a stein on the table That is brimful of near-beer. All V. H.—Elsie Janis appeared in "Miss 1917" at the Century. S. E.—Emily Ann Wellman was fea- tured in "The Young Mrs. Stanford," pre- sented in vaudeville. F. D. R—The Great Richards is a fe- male impersonator. He has been appear- ing in vaudeville for more than ten years. Toe-dancing is his specialty. M. L.—William McElwain is now direct- ing the orchestra at Moss' Hamilton. He was at the Flatbush for a short time. He was in charge of the Hamilton orchestra last season, also. S. W — Rolling Thunder was the Indian to whom you have reference. ' At the time you mention, he was fifty-three years old and was still appearing on the stage. He was a member of the Kiowa tribe. G. D—Sam Bernard, De Wolf Hopper, Lee Harrison, Bessie Clayton, John T. Kelly, Fritz Winiama, Lillian Russell, Fay Templeton, Joe Weber and Lew Fields were in the Weber and Fields Stock Com- pany at that time. H L.—The sketch "Mind Your Own Business" was presented by Harry Beres- ford and Company. Hugh Herbert and Company are using a playlet by the same name, but the offering is entirely different than that used by Beresford. M. C.—Lou Locket is now with the "Royal Vagabond" at the Cohan and Harris theatre. He has been on the stage seven or eight years. He is considered a very good performer; has a verj good ap- pearance and is about twenty-eight years of age. K. J.—The first theatre recruiting sta- tion in the United States was at Keith's Colon ial, New York, and was started soon after the declaration of war in 1017. Al *■ Darling, now manager at -the Royal, was then manager of -the * BLANKETY VERSE. 'Twaa the night before Christmas And all through the house Not a seat but 'twas taken— And the 8. K. O. sign was on the door. HE WAS RIGHT It seems that Victor Herbert waa right, after all, in naming his show "My Golden Girl.' We thought, at first, she would in all probability be a "Gold Digger," but she turned out to be a gold mine. WHAT HAS BECOME OF, The fellows who used to imitate Georgia Cohan? The songs about "our brave boys in France"? Acts that used to drape the American Hag all over the stage? Russian acts in vaudeville? HERE'S HOW—NOT NOW Prohibition is the topic of much tavDc philosophic, pro and con it is debated, many strange facts are related, new gags they are springing, new songs on it sing- ing, in every state, on every Stage, pro* Mbit ion is the rage, each actor has a gag or two, upon the topic each quite new. UP AND DOWN MAIN STREET Pearl Regay collided with a piece of scenery at the Capitol Theatre last week. The scenery was not damaged. George MacFurlane and Viola Gillette have been contributing to the city coffers. . They took out a license to wed last week. Margot Kelly is supporting Godfrey Tearle!— in "Carnival." OUR OWN REVUE (Chorus of box-office men.) You call upon us When you're wanting a ticket. And we scowl at you Through the small office wicket. You ask for two seats In Row 8 or 7. You might as well ask For a front seat in heaven! For the best that we have In in Row 32, With a big post in front That will cut off your view, STAGE DOOR RULES 1. Always, upon appearing for re bearsal on Monday morning, demand the star's dressing room. 2. If your "spot" is other than next to closing, be sure to object. 3. If rehearsal is called for 10.30, in your case it is 0. K. to make your ap- pearance not earlier than a quarter to IS 4. Invite all your friends back to call on you after the show.