San Francisco dramatic review (1899)

4 THE SAN FRANCISCO DRAMATIC REVIEW January 9, 1909 The One Big Question Wherever I look and wherever I turn. In whatever direction 1 no. One question, one only, confronts me: "Can you fix me all right for the show?" The baggage man. weighing my baggage. Savs. "A hundred excess, or so; What's the name of the troupe you're ahead of; Can you fix me all right for the show?" The genial, obliging hotel clerk Cries In a professional glow: "If your room doesn't suit you I'll change it; How about comps. for the show?" The porter, who brings In my trunk, says: "Fob de lani sakes, you'se an agent, I know, I can tell dem a mile off. by golly; Say. how about a pass to the show?" The chambermaid says, with a sly little wink. And in times oonfilingly low, "I'd like t.p take in the performance. If you can fix me all right for the Show." And nights in a feverish slumber, I wretchedly toss to and fro. And dream that the bed bugs in legions are calling. Can you fix me all right for the show?" Kind Heaven! will even Saint Peter shout. When I pass up from down below. "Say. when is the company coming. Can you fix me all right for the show?" • — A New Shakespeare, Unidentified. The Earnings of Wagner While Warner's letters contain countless and bitter references to his poverty and the never-ceasing money stringency, his financial condition was more often than not due to his impracticable handling of his affairs. In comparison with the money earned by contemporary composers of far smaller powers. Wagner was poorly paid for his works. Nevertheless, for some years before his death he received substantial sums by the sale of publication and performing rights, royalties, etc. Rienzi, the first of his operas to be performed, was a moneymaker; but unfortunately the composer had omitted to secure a profitable arrangement and he received $225 for his share in its first performances. The earlier operas were published on Wagner's own responsibility, and saddled a heavy and irksome debt on him. The publisher Meser had the sympathy of the wits of the day. 1 le lived in the first story before printing Rienzi. 1I1 . -aid; The Flying Dutchman and Tannhausef took him up to the second and third, and Lohengrin was sure to send him to the garret. In later years, as the music dramas gained momentum, the returns increased. The Intendant of the Berlin 1 >pera House who refused to pay $750 for the rights to Tannhauser was compelled to pay the composer $1300 in tantiemes the first year alone. The publishing rights of the N'ibelungen Ring tetralogy were purchased by Schott and Son for $10,000. and for Parsifal they paid the composer $15,000. According to Henry T. Finck. Wagner's income for the last year of his life ( 1882) was $25,000. The annual profits from his operas have, of course steadily increased. In 1892 Mr. Finck estimates them to have been at least $50,000; and without a doubt twice that amount is well within the figures for the last few years. The Bayreuth Festivals alone have been a veritable gold mine for the heirs of Wagner. The quickest and most easily earned money that Wagner ever received was the $5,000 paid by a group of rich Americans for the Centennial March, which he wrote to order for the Philadelphia Exposition of 1876. The immense interest in Wagner after his death is illustrated by the fact that his widow received $12,000 for the concert rights for a year, for a youthful symphony which had never been published, and which the composer himself never wished given to the world. — Lewis M. Isaacs, in the Bookman. ANNUAL COAST TOUR OF AMERICA'S GREATEST EMOTIONAL ACTRESS FLORENCE ROBERTS In the Success of Her Career The House of Bondage By SEYMOUR OBERMER Remarkable Cast. Including ARTHUR FORREST. THCRLOW BERGEN, ANN WARRINGTON, HALLET BOS WORTH. MARY BERTRAND a.m. HARRY CI BBS I TINERARY— Portland. Ore., Jan. 7-10; Salem. Ore., Ian. 11; Eugene, Ore.. Ian. 12: Medford, Ore., Jan. 13; Chico, Cal., Jan. 14; Marvsville. Cal.. Jan. 15: Stockton, Cal., Jan. 16; San Francisco, Cal.. Jan. 17-23: Oakland. Cal.. Jan. 24-27; Fresno, Cal., Jan. 28. Hanford, Cal.. Jan. 29; Rakersfield, Cal., Jan. 30; Los Angeles, Cal., Jan. 31-Feb. 6. Through arrangements just consummated, the Auditorium of Los Angeles will in about three weeks be opened as a musical extravaganza house. The productions will be done by the management of the house and will be of a high order of merit. Such pieces as Cinderella and the like are contemplated. Florence Leslie, whose reputation as an expert in stage dancing and the posing of stage pictures is notable, has sixty girls in training already for the ensembles and chorus. The principals will probably all be brought from the East, a number of names of established reputation being under consideration. Manager Ernest Crawford will have charge of the productions. His policy will be to give the public bright, sparkling performances, yet thoroughly cleanly and refined. The Dramatic Review believes that of the West the great big heartthrobbing masterpieces of dramatic literature are to be written. To demonstrate our judgment and to encourage substantially Western playwrights, we invite the competition of those who believe they have ability in this line. Our Offer In an open competition, restricted only to a residence West of the Mississippi and to a subject relating to the vast Western empire that is bounded by the big river on the east and the mighty Pacific Ocean on the west, we propose to have selected by a committee of three competent judges, the best tragedy, comedy, comedy-drama or farce, that is submitted, and to the lucky author or authors we promise a productiou and royalty for one entire season. Through the co-operation of W. J. Elleford, one of our most progressive and most influential road managers, we are enabled to make this splendid offer. Not only will the winner of the contest get a production, but will for one year receive a weekly royalty, figured on the basis of royalties now paid. The Competition Is In Force From This Date and Closes on May 31, 1909 Each manuscript must be type-written when submitted and must be accompanied by the name and address of the writer in a separate envelope. This envelope will be numbered, and a receipt numbered to correspond will be returned. The manuscript will also bear this number and not until the competition is ended will anyone outside of the Editor of The Dramatic Review learn the identity of the author of the manuscript. All manuscripts will be returned after the competition. Certain conditions attending this competition will be explained in a printed form, as the manuscripts are received. The profits to be derived from a successful play are great. THE LION AND THE MOUSE has made Charles Klein a very wealthy man. Eugene Walter wrote PAID IN FULL after several failures. Last year he made something in the neighborhood of $200,000 from royalties. George Broadhurst received last year $250,000 from his royalties for THE MAN OF THE HOUR. Send all manuscripts to Competition Department, Dramatic Review, San Francisco.