The Billboard 1906-03-17: Vol 18 Iss 11 (1906-03-17)

The Billboard MARCH 17, 1906. ~ How to ~ liluminate The Park | iS By Sydney Wire, (Written for The Billboard.) NY attempt to look very deeply into the prospective future of the amusement park, from a general standpoint, seems somewhat out of the uvestion. It seems at least a hope lessly difficult item for any immediate conception of what the far future will present, particularly when we take into consideration the gigantic strides that this particular institution has made within the past few years and endeavor to look forward to the vast possibilities, and more stubborn probabilities, of the remote future, we are at least forced to acknowledge the difficulty of any attempt to conceive what remarkable modifications and ingenious devices that originality and ample capital will devise to satisfy the ever-increasing and greedy appetite of an amusement hungry public. Few cities, however small, are without their park, and the essential transformation of these resorts into fairylands of radiant and brilliantly lighted splendor is undoubtedly but a question of time. The problem of illumination is possibly the most.important item so far, and it has long since been conclusively proved that artistic and plentiful lighting is, in itself, a positive feature of the most attractive form. The brilliantly lighted garden, where the lights are 6ufficiently numerous and are systematically and effectively arranged, possesses in itself a charm that is irresistible. Light, and plenty of it, should certainly become the leading feature of the up-to-date amusement park. I well remember my first glimpse of Luna Park, Coney Island, as I saw it from the car window in transit from Brooklyn Bridge to the Island, some three years ago. The effect was simply grand and far beyond my ability to describe, appearing as it did from a distance, like a fairy city ef golden light, twinkling in the semi darkness of the summer night; and, as we approached more closely and its gleaming form grew more distinct, the more beautiful was the effect, a picture radiantly outlined with countless lights, and above this veritable fairyland towered high into the night a glorious pagoda-like tower, an absolute blaze of light, silhouetted against the night background, a crowning glory to a sight as impressive as it was beautiful. ILLUMINATION ADVERTISES The fact that a brilliantly lighted park is usually visible for many miles around must also be taken seriously into consideration for its extreme value from an advertising point of view. Too great attention to this subject can hardly be given, for as soon as twilight falls the park in all its glory becomes visible within a more or less wide radius, and thus continually proclaims its existence to the outer world, consequently reminding it in a striking manner of the wonders and beauties to be seen within those portals. That the question of illumination is of the utmost importance has been so often demonstrated that its effectiveness in attracting a high elass of patronage can hardly be disputed, ané its influence in controlling, in no small measure, the rowdy element must certainly be recognized. In fact, there seems to be no end to the matter-of-fact advantages to be gained by plentiful illumination, and no amount judiciously expended in this direction should be begrudged. WILLIAM DALE This talented young leading man, who is this season etarring in Across the Rockies, is attracting me praise for his clever work from both critics and theatregoers throngh=. the territory played by the above produc . It appears that more attention to the construction and illumination of the “Main Entrance’’ to the average park might easily be paid with little increase of expense on the usual style of main front which, in some cases, is of a most mediocre type when compared with what could be where all the accessories are available and the necessary capital is at hand. An artistic and well illuminated portal should be regarded as an all-important feature, and some artistic and striking style of architecture should be adopted that will lend an imposing, as well as attractive, appearance to the park entrance. It is a remarkable fact that the itinerant showman of Europe, more particularly those of France and Belgium, possess some of the most handsomely constructed and perfectly illuminated portable facades in the world, and which are far ahead of many permanent structures of their kind to be seen in this and other countries. This is without any undue exaggeration, and is entirely without prejudices, being purely the result of interested and careful observation. While in France last spring. an excellent opportunity was afforded me to witness a genuine Parisian ‘‘fete’’ or ‘“‘kermes’’ which had place along the embankment of the Seine, and which stretched its gaudy booths and _ brilliantly illuminated theatre front for a distance of nearly two miles. This may appear as forcign to our subject, but I do believe that many excellent ideas could be obtained from a close observation of the manner in which the larger Structures there seen were illuminated, and particularly the unique ideas in design and the general lighting scheme of some of the larger fronts to be seen at Neuelly, er the Fete des Invalids, at Paris, which are absolute works of art and are really beautiful. H. M. PRICE The Well-known German Comedian. It was at night that I in company with a well known contributor to The Billboard, Mr. Chas. E. Griffin, witnessed the ‘‘fete’’ and we were much impressed with the general arrangement of the entire concern, and more than surprised at the attention that was pald to detail in the lighting, also at the lavish manner in which the entrances to the larger concerns were decorated and illuminated. The extravagance and splendor of some of these portable structures was simply astonishing and must be seen to be appreciated; so artistically were they constructed and lighted and in fact the whole organization down to the smallest privilege was an interesting object-lesson in effective lighting and artistic construction, from which at least something might be culled by the fertile brain of the up-te-date and enterprising hustler. Without doubt the question of illumination is worthy of the most serious consideration, and light has already proved itself in innumerable | directions as a necessary feature of the up-todate ‘‘Al Fresco’’ amusement institution. For as unto the candle flies the moth, so unto the bright lights of the illuminated park flocks the crowd of humanity upon which the park depends. Toledo, O. THE CLOWN’S ART It is the funniest thing in the world to the people who sit in the reserved seats and laugh at the antics of the Forty Funny Fellows, but to the clowns it is a different matter—quite different. They make their living clowning; it is their trade, or rather—for the good clown comes perilously tist—their profession. An actor gets his part in a play. It is his work to do that part to the best of his ability. A playwright makes the part for him. The clown makes his own part, and goes on and acts it. And his “‘part’’ is harder work than that of the actor. He has to be an acrobat, ‘‘slap stick’’ man and actor all rolled into one. His stunt may be to chase a fellow clown about a ring, or it may be to imitate a rooster, or play a ball game all by himself. Much of his value to a circus, and, consequently, the size of his salary, will depend upon his versatility and his ingenuity in ‘‘finding’’ new parts. For the general run of clowns there is no fixed salary scale, A man may make $20 a week and he may make $100 or more. near to being an ar FRANK DANIELS Pe 2 7) a « > Oy he + s 8 Ding ee Mr. Daniels is again triumphing with his latest vehicle, Sergeant Brue. In this piece he has many opportunities in which to show his talent. Mr. Daniels is now counted with the foremost comedy stars of the country and this he well deserves. A man can’t be a clown unless he is born to it, and if he is born to it he will be paid accordingly. It is not uncommon to find a clown of twenty years’ experience, and when one such is found he is sure to be a real “artist’’ of a clown. He begins the work because he likes it, and he stays with it because it is his profession, says Jiggs Arnold in the Chicago Tribune. In the old days a clown did not need to be anything but a clown. A few of them came out into the ring, leaped over each other or batted each other over the head with a rubber bag at the end of a stick. Now, that is all changed. The clowns all have their stunts except the ‘‘dubs’’ who are allowed to play the ‘‘minor parts.’”’ Entire companies of them appear in the ring at the same time and put on burlesques of no inconsequential importance. It is usually the ‘‘show boy,’’ the young fellow who runs away from home and travels with the circus just because he likes the glamour of the life, the sights of the rings and the smell of the sawdust, who becomes the clown. Men don’t go into it as a general rule deliberately, as they choose a profession. If a circus manager sees a youngster about the show whose appearance suggests that he would make good in his debut, and it is just as apparent that he makes good or doesn’* as it is on a stage, he becomes a clown. His pay may be $20 to start with, or it may be more. Few clowns are paid less than this figure. His position will be good just so long as he does his work regular and stays ‘“‘good.’”’ If he loses interest in his work it is instantly discernible, and then the clown loses his job or braces up quickly. There is no future for the average clown. A few have graduated from the clown’s costume to the position of ring masters, or even circus managers and owners, but most of them have not. CHANNING POLLOCK Above is an excellent likeness of Mr. Channing Pollock, the genial author, dramatist and playwright, and press representative for the Shubert Brothers. When Mr. Pollock wrote In the Bishop’s Carriage he made a ten strike and later on his The Little Grey Lady proved immensely successful. There is no living on a reputation made in the past in the clown’s job, for his name does not appear on the bills, and the public knows him only through the work he does in the arena. A few clowns have died rich—most of them in want. A STORY OF SOTHERN’S FATHER One day E. A. Sothern, father of the present E. H. Sothern, who is playing in The Merchant of Venice, The Taming of the Shrew and Twelfth Night with Julia Marlowe this season, went with Mrs. John Wood, the celebrated English comedienne, into an tronmonger’s shop and asked for Macauley’s History of England. He was a practical joker as well as an uncommonly good actor and this was only one of his whims. ‘‘We do not sell books, sir,”’ said the assistant. ‘This is an tronmonger’s shop.’’ ‘‘Well, I’m not particular,’’ said Sothern. pretending to be deaf, ‘‘I don’t care whether it is bound In calf or Russia.”” “But this is not a book-seller’s,"’ shouted the assistant. “All right,’’ said Sothern, “‘wrap it up neatly. I want it sent down to the hotel. It is for a present I wish to make to a relative.” ““‘We don’t keep it,’’ yelled the assistant, getting red in the face. ‘‘Do it up as if it were for your own mother. I don’t want anything better than thet,’’ said Sothern. ‘I would like to write my name on the fiyleaf.’’ ‘‘Sir,”’ bawled the assistant at the top of his voice, ‘‘can’t you see that we don't keep books?” ‘Very well,” said Sothern, quite undisturbed. “I'll wait for it.”’ The clerk appealed to his master, and said he thought his customer must be off his head. ‘“What is it, sir? What do you desire?’ the proprietor asked of Sothern. “I want a file,’’ said the actor, ‘‘a file, plain file, four or five inches long.’’ ‘Certainly, sir,’’ said the master, casting a withering glance at his assistant, and the joking comedian went out of the shop with his purchase, keeping his face as straight as it had been all through the encounter. SPECIAL WEEKS Suggested by Raymond Stanley The park season is so short that every week should be a special week. Have something new for the posters and papers every Thursday. Nothing sustains interest like constant change. The following tournaments, shows and _ festivals are so easily arranged and so inexpensive to put on that they are within the reach of the smallest parks: May 29-June 9—Spring Festival. June 4-9—Flower Show. June 11-16—Tennis Tournament. June 18-23—Bench Show. June 25-830—Archery Tournament. July 2-7—Horse Show. July 9-14—Bowling Tournament. July 16-21—Midsummer Fete or Jubilee. July 2328—Croquet Tournament. July 30-Aug. 4—Poultry Show. August 6-11—Carnival week. August 13-18—Firemen’s Tournament. August 20-25—Baby Show. August 27-Sept 1—Band Tournament. September 8-8—Harvest Home Festival. BURLESQUE Why is burlesque? Its function is to brush the cobwebs from the brains of busy men, to make society women forget the anxieties of ®& Mfe spent in striving to surpass each other in unique and splendid entertainment, to give big and little ones an afternoon of nothing but laughter, to present the sunny side of life and please all the senses simultaneously. The eye is soothed by. the stage pictures, the ear by the catching music, and fun, fun, fun from the moment the curtain rises until it falls—that {s what, I believe, makes boys and girls again of men and women of the world. In the burlesque of Paris and London some of the greatest Buropean productions are made. On the other side they give burlesque and vaudeville together. Here the vaudeville field is so thoroughly covered in our variety houses that we eliminate that feature. In a word, burlesque ie —well, because we want to increase the joy of Mving.—Joseph Weber. erent