New York Clipper (Jul 1923)

July 11, 1923 THE NEW YORK CLIPPER 13 Fomulcd in 1SS3 by Fnok Qumb PubUahed br dw CLIPPER CORPORATION Orland W. Vaucban....President and Secretary Frederick C. MuUer Treasurer 16Se Broadway, New York Telepbone Circle 9112-9113 WALTER VAUGHAN, Editor New York, Wednesday, July 11. 1923 Entered Tone 24, 1879, at the Post Office at New York, N. Y., as second class matter, under the act of March 3, 1879. THE CLirfER is issued every WEDNESDAY Forms dose on Monday at 5 P. M. SUBSCRIPTION One year in advance, $5; six months, $2,S0; three months, $1.25. Canada and foreign pMtage ■rtea. Single copies will be sent, postpaid on receipt of IS cects. ADVERTISING RATES FURNISHED ON APFUCATION Chicago Office—Suite 626, Sutc Lskt BUg Phone Dearborn 1776 SoBUT D. BoHiEL, Ifaiuger San Franeisca Office—Suite 621, Gillette Bide. S30 Market St. Phone Kearny 3261 Rusa CbBEM, Manager Address all communications to THE NEW YORK CUPPER Room 3t7 UH Braadny, Now York Rctisltrtd Cablt Adirta: "AtrrHOtiTY." Tke CLirraa cam aa oSTAlNn wsolzsau ano BKTAix. at our agents, Gorringe American News Agency, 17 Green Street, Charing Cross Soad, L«ndon, W. C, England; Daws, 8 Eagle Place, Piccadilly Circus, London. S. W., Enjdand; Bmtan^s News Depot 37 Avenue de rOpera, Paris, Fiance; Gordon & Cotch, 123 Pitt Street. Sydney, N. S. W., Australia. PAGE A SEERESS Producing managers are looking askance as to what the new season 1923-1924 will bring forth. A seercss who could foretell the economic conditions throughout the country for the coming year and especially the outcome of the smouldering Equity- P. M. A. rumpus could make a fortune in the Times Square district. There is not the slightest doubt but that Labor Day, the official opening date of the fiscal theatrical year, will bring the usual influx of new productions, but in these "dog days" one cannot help wonder- ing whether the "dyed-in-the-wool" pro- ducers will sink their coin in lavish pro- ductions or whether they will let the am- bitious independent keep their theatres go- ing for them. Any number of independent producing firms have cropped up like weeds during the past season and by .some' queer prank of fate, the majority picked winners. These boys have had their appetites whetted and will undoubtedly cut loose in the coming season on a larger scale. The established producing flrms, or rather most of them, have announced that they will make productions, but even if thqr lived up to the mimeographed list, which seldom, if ever, hai»pens, there has not been enough new shows aimounced by the Shuberts, the Klaws or the Erlangers to fill the stages of one-third of our Broad- way playhouses. Some are prone to believe that the with- holding of plans is merely a strategic move upon the part of the veteran man- agers to throw a bombshell in the enemy camp—the Equity—and thus batter down the morale of its members by making it appear that they are in earnest in their decision to suspend all production activi- ties in 1924 rather than concede "Equity Shop." Equity, however, refuses to take this' strategy seriously and are going ahead with preparations for a possible conflict. They maintain that the managers will rush productions into rehearsals at the eleventh hour and that the season that is to come will be better than last for the actor. Hence, the need for a seeress on Broad- way. AGREES WITIf MR. FROHMAN Open Idler. . To: Mr. Daniel Frohman, President, Actors' Fund, New York, N. Y. Subject: Proposed Theatrical Hospital for -Mew York. Dear Mr. Frohman: Permit me to congratulate you upon the strongly common-sense manner in which you analyzed the project of a Theatrical Hospital for this city. To spend a million dollars for a beauti- ful architectural display, while admirable from a civic-pride point of view, is avow- edly poor business. As you suggest, there is no .need of a costly hospital for the members of the theatrical profession. There is what amounts to a craze for such building at the present time. The most insidious brand of propaganda is con- stantly being put forward by medicine men for the erection of special buildings where- in different diseases may be treated. This is one of the few ways they have of en- trenching themselves in the public mind— the assumption being that if you can build a hospital, you will cure the sick. What a travesty upon good sense! In 2,000 years medicine has not yet cured or rid the human family of its ills. The very fact that so many hospitals have already been erected all over the world, and thou- sands more are being asked for by medics should point a story. And, to the knowing, it does! If some of that money asked for could be added to your Fund, and rest homes could be provided for those in the profes- sion who need them, it would probably do most good. What the great majority of actors need is rest and a strong conviction that health is to be gained through Na- ture's own way; by new habits of living and thinking and a i>owerful aversion to drugs and medication. Drugs implant a continual thought on Disease, instead of Health. To whip ■ up his already tired body hy constant medication does the tired actor irreparable harm. If the world at large does not change its habits of doing things and looking at matters in connec- tion with health, it will always be plagued for hospital funds. Fortunately, the the- atrical profession is, in a large measure, free from this oppressive servility to medicine. The growth and popularity of the drugless profession bears witness to this; for thousands of the theatrical people are at present satisfactorily availing them- selves of drugless methods for health. Another point not so well imderstood by many is this: Hundreds of the profes- sion prefer drugless methods of healing; at these medical hospitals drugless prac- titioners are studiously kept out. The right of the sick to get well by the method he prefers is denied him. A sort of mo- nopoly is thus established which benefits not so much the sick man as the organized medical profession. The public stands for it because it has been schooled for genera- tions in the practice and art of drugging. It is SO easy to "take something" for an ailment. That something never does bring on health. It palliates, makes one fed comfortable protrably, but the cause of the . discomfort or ill-health is not removed. That "something" remains in the body to make itself assertive at some later day. And so it goes. Bottled health is a myth— a fetish that is already on the way of all superstitions which come under the spot- light of facts and truth. Yours for health, Francesco X. Sauchelli, D.C, Ph.C, Official Chiropractor, .Actors' Equity Association. Dated, New York, July 5, 1923. LOPEZ "KIDS" STOPPED ON SUNDAY Beban and Mack, the two little girls who appeared in the "March of the Mani- kins" and the "Bouquet of Roses" tableau.^ in Vincent Lopez' act at the Palace, were restrained from working on Sunday by the authorities, on the grounds that they are minors and tlicir parents only allow them to work six days a week. The boys in the Diamonds' act substituted for dicm. on Sunday, and arrangements arc being made for substitutes for the remaining Sundays during the run of Lopez at the Palace. Answers to Qoeries B. R.—Irving Montgomerj- was known as "Sandowc" (with a final e). Trap.—John McCullough died in Phila- delphia on November 8, 1885. Rip.—Joseph Jefferson first appeared as Bob Bricrly in Australia, at between 1861 and 1864. The role was acted for the first time in America by W. J. Florence at the Winter Garden, New York, November 30, Woolwortb.—In 1894 the highest build- ing in New York was the Manhattan Life Building (348 feet to top of tower). In Chicago, the Masonic Temple (302 feet high). Lil.—Mrs. Langtry made her first Amer- ican appearance November 6, 188;^ at VVallack's Theatre. New York, in "An Un- equal Match." Empire.—Isabel Irving made her pro- fessional debut with Rosina Yokes in "The School Mistress" at the Standard Theatre, New York, in February, 1887. Dan Daly appeared in "The New York- ers" at the Herald Square Theatre. Nick Long and_ Idalene Cotton were in At cast also Virginia Earle, Anna Laugjilin, Mar- guerite Clark, Rose Beaumont and Isabelle D'Armond. Bessie Wynn was with "The Telephone Girl" Co. at the Ciasioo Theatre, New York. Bijou.—The Sire Brothers presented vaudeville at the New York Theatre Roof Garden. "The King's Carnival" was pro- duced at the New York Theatre, with Mabelle Oilman, Dan McAvoy, Louis Harrison, Marie Dressier, Frank Doane, Amelia Summerville. Emma Cams, Laura Burt, John Ford and Junie McCree in the cast. T. B.—President Wra. McKinley was shot at the Pan-American Exposition at Buffalo, N. Y., by Leon Czolgosz on Sep- tember 6, 1901. Arms.—Vincent Bryant and Fred W. Hager were connected with the E. T. PauU Music Company at that time. Check.—Thomas W. Ross opened in "Popularity" at Rochester, N. Y. Fred- erick De Belleville, John Jack, Edgar Selwyn and Florence Rockwell were in the cast. TWENTY-FIVE YEARS AGO Joseph F. Sheehan was tenor with the Castle Square Opera Company. Frederic Paulding played the leading role in "Romany Rye" at Morosco's Grand Op- era House, San Francisco. The bill at the Orphetun, San Francisco, included Joe Hart. Carrie De Mar, Bert Coote, Julia Kingsley, and Fleurette. The World's Musee Theatre, Allegheny, Pa., was burned. La Petite Adelaide played at Hopkin's, Chicago. Geo. H. Nicolai was genera] manager of E. D. Fair's Enterprises. Lillie Larkelle died in London, England. "Just One Girl" was the popular song hit. Peter Maher defeated Joe Goddard at the Lenox Athletic Oub, New York, in eight rounds. The New York Baseball Qub included Van Haltren, c f.; Tieman. l.f.: Joyce, lb.; Davis, s.s.; Gleason, 2b.; Gettig, r.f.; Hartman, 3b.; Grady, c.; Dofaeny, Meek- in, p. Rialto Rattles GOING TO MOUNTAINS Swift: I'm going to the Kills mountains for my vacation. Premium: What mountains are they? Swift: They're the cats. CLOSING THE SHOW Tell me not in mournful numbers That I have to close the show. Tell me why my agent slimibers When I try to get more dough. Life is real, not a vacation And, when I pay ten per cent Costumes, tips and transportation Nothing's left to pay the rent. Let us then be up and doing Smash the staller and the gyp. I can see my trouble brewing Bookers have me on the hip. VAUDEVILLE POKER Deuce spot-^never an opener but some- times wins when played wild. Jack—without whidi no actor will open. Shuffle—explained in a foot-note. Queen—sometimes difficult ° to fill but good to hold on any bill. Ace—an opener but usually dumb. . Straight—sometimes an asset but a liabil- ity irtien flushed. Call—always welcome if you've got the goods. Raise—one of the rarest things in vaude- ville. Standing Pat—living on bread crumbs to avoid a salary cut. Deal—usually rotten, handed out by booker. Cut—needs no explanation. A good hand—a great hdp in wfambg the jack. A full house—usually depends on the draw; every manager's ambition. WHAT THEY USED TO BE 'Willie Collier was once a call boy in DaWs theatre. Harry Von Tilzer the music man, was once an actor. Quite good the old timers say. Eddie Foy once was a horse shoer. David Warfield was once a theatre nsber in a San Francisco bouse. Frank Tinney -was once an undertaker. Henry Chesteiiield was once an actor and one of his roles was "Simon Legree" it> "Uncle Tom's Cabin." THINGS TO WORRY ABOUT All the Broadway ticket speculators irav hit badly by the heat •men of last weelc THEATRICAL MYSTERIES No. 21 What has become of all those vaudeville acts that tiscd to bill tfaemselvea "Tbe Great" so and so? And where are the two men faaajo acts that used to hit up "Poet and Peasant" and "William Tell" overtures? STAGE CHARACTERS AND HOW TO KNOW THEM An ingenue—Lisps and misses cues. A leading woman—Hogs the action and uses heavy make-up. A villain—Oass A. Wears spats and a mustache. A farmer—Says "By heck." and wears overalls. An Englishman—Says "Doacherknow" and looks silly. .\ leading man—^Acts as if he had a stiff neck from trying to look over the footlights and keep up the action at the same time. A vamp—One who smokes dgaiettes and speaks contralto. A maid—Wears a white apron and drops dishes for laughs. A butler—Bow-legged arms and a tmmy imiform. A detective—Beetling brows and indsive speech.