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A ctorviews
mache. I guess he’s the tightest manager I ever played for.”
“Who’s the most generous?”
“C. F. — nobody’s as generous to the actor as Charlie Frohman was. He never lost by it, either. He’s the one manager that never lost a star.”
We appeared (it was only an appearance) to leave the managers when the talk somehow shot over to McIntyre and Heath and their school of blackface, two disciples of which, I learned, owe their trade name to Mr. Bennett. Said he:
“They saw my name up in the ‘Damaged Goods’ sign, and one says to the other, ‘Let’s grab that name and split it.’ You be Bennett and I’ll be Richard.’ So they called themselves Bennett and Richards. I see they’re about to go into New York in ‘Broadway Brevities,’ along with a lot of other blackfaces — Eddie Cantor, Bert Williams, George Lemaire — I don’t know how many.”
“I met Jolson this evening and he was telling me,” I told Bennett. “He said he’d just wared Lee Shubert: ‘Hope the show is a great success. If it isn’t, you and Jake black up.’ ”
“Why,” I asked him, “are you the most unpopular actor with the managers?”
“The prime reason’s because I’m an actor with a manager’s point of view,” Bennett answered with vim. “I’ve proved too many of ’em wrong at their own game. And of course there are individual reasons; they’ve said things and I’ve said things — especially I’ve
said things. Now there was Ollie Morosco ” and a
smile haunted the plastic lip of Mr. Bennett.
“Why doesn’t Morosco love you?”