The Billboard 1913-03-22: Vol 25 Iss 12 (1913-03-22)

MACH 22, 1913. The Billboard | 73 VAN CELLO THE INCOMPARABLE BARREL MANIPULATOR An act for Vauceville, Parks, Fairs or Burlesque. Have also played several months of Cabaret work, Where the act proved quite a novelty. Equally at home in one or lull stage. What have you to offer? Permanent address, care Billboard, or White Rats, 227 W. 46th St., N.Y. OPE} AIR the World. Best day grand stan attraction. Best and most bril lant night feature Thrilling electrics. fireworks finish ma >Omrmr startling feats the imitators dare not attempt For particulars ct th . record break ng, Cy rg «@pectaular feature address A SUGGESTION TO THE PARK MANAGER By Robert Grau. Revivals being in order in nearly every fase of the amusement field and now that sci:nee and artifice have combined to make pvssible the simulation of the real in public entertainment. it is surely within the province of showmen who cperate our great amusement parks to embrace such opportunity as is theirs and thus mete out to a discriminating public in the summer of 1913 a species of entertainment such as would represent the evolution of things or to elucidate, bring their offerings ‘‘up to date.’ Everything in the show business comes in cycles; melodrama was considered dead five yeurs ago, wiped off of the theatrical map—but today melodrama of a far higher order is the most potent of stage offerings. Six theaters in New York City are playing to capacity at twodoar prices with plays that five years ago the public bad begun to pass up. that is the peo ple who buy seats were in no humor to acclaim a type of play which had enricht a group of showmen for more than twenty years. It was quite the same with comic opera, once one of the greatest attractions for parks in their history, yet about five years ago in some way comic opera Was cast aside and a far in feiior substitute replaced it. Surely no one can deny that the musical and farce comedies that were presented in the last few years in the parks were calculated to drive the public patronage to indoor amusements where the mod— and constructiv in entertaining could be enwyed. Put the all-impertant thing for the park mag nate is not to be told what to avoid in catering to his immense clientele but rather where he may look for new thrills or to revive attractiv shows of other days likely to lure back the thousands whe in view of climatical conditions are less inclined to flock to the great amusement parks unless the incentiv to do so is the result of compelling entertainment such as may be seen only in the outdoor institutions, and of this species the greatest magnet should be that which is presented on the stages in the theator iums, : And if melodrama, after five years lying dormant became more attractiv than ever even at double admission pricis, may not the amusement park magnate se the light, net for him self to produce the melodramas but as comic opera this year, revived by Mr. DeKoven and the Shuberts, has broken all records al] over the country, at increast prices. It is here where the writer finds the basis for this article. If Robin Hood can draw $12,000 a week on an average—summer and winter—and if the dear old “‘chestnuts’’ like The Mikado, Pinafore an! Pirates of Penzance can hold the record for business in the Shubert theaters for nearly two years without any unusual excellence in the en semble, does it not signify that the public is hungry for the sane and artistic in musical plays rather than the stupid and tiresome type of ‘girl’? shows that have too long held sway in theaters and parks alike? And the point I wish to emphasize is that if one city after the other finds its amusement seckers capitulating to the scores of DeKoven and Gilbert and Sullivan. who shall say that it is not in order for the park magnate—I pre fer to call him a showman—tv organize a stock comic opera company recruited from the risins ceneration in the operatic world, and he has ‘nly to note the procedure of the Messrs Aborn in order to find the inspiration to under take a task that should present no difficult rroblems and enable bim to create a constant following. In the summer of each year tie Messrs. Aborn present comic and grand in six to eight of the largest cities, simultaneously. I have seen the bvx-office state ments resulting from these operations. Tu Brooklyn the average is about $8,600 a week In Boston, at the Majestic (new opera house). a business of nearly $10,000 a week is assured with a subscription plan popular with the peo ple. In Baltimore, Washington, Milwaukee and other cities the average is bout $6.000 a weck. but the great, all-im pertant fact is that this remarkable achieve ment is possible in the summer time in in whereas during the regular sea Abovn curtail their operations deor theaters, son the Messrs. considerably. Of course. gradually the Aborns have im measurably raised the level of their operatic schemes. until now they are invited to direct the season in the same opera houses where five dcllar opera obtains in the winter, but this fect does not alter or affect the viewpuint as t) the gold-laden chance that {is staring the park showman in the face. The latter is not expected to go over the heads of his public, nor should he lose sight f the amazing progress and — — om ee ‘garded as an < atic asset thru the trem "cue * i and the player opera | L : | } dous vogue cf the fonograf pianos, which have brought the works of the great masters of music into the homes of the messes and not only created a new musical public. but it is_a truth that even the Metro pelitan Opera House, with its “budget of $70,000 a week. attributes its present unpre| eedented prosperity to the thousands who now fill its balconies and galleries. but whose incen tiv for opera-going came from hearing the world’s greatest singers In their own homes ane even in penny arcades thru the advent of the scientific era. A prominent music publisher who seeks no publicity and needs« none, informed me only a week ago that shipments of grand opera scores into cities of less than 50 OM pop ation in 1912 were six times larger than fn 1907—more over—and mark this last statement well There were more scores of the old comic operas sold in 1912 than in any of the years when these prednetions were first revealed tr the musical world There you have it Mor: ecores of The Mikedo. The Chimes of Normandy The Gondoliers and Robin Hood suld in 1912 than In the years when operettas were orginally the rege—indeed a craze. aire new we are coming to it: If the people will sit in het weather, in indoor theaters. and pay theater prices fo hear merely ade quate performances of operas that are av ailable to any one for the asking, why should not the great advance in mrsical taste and knowledge operate on the constructiv side for the park manager who bes only to go back to what was amazingly: successful in a primitiv and surely these (Continued on page 76.) r rT EFROLIC) | ooo0°o ; ; Now in Two Sizes. One CARRIES 1,080 AN HOUR. Portable one carries 720 AN HOUR, | and can be set up in seven hours and taken down in six hours. This one just the thing for small Cities, Pairs and Carnivals. Thriller But Not Violent} — Great repeater. Not a Circle Swing nor a Carousel, but unlike any other ride. Three distinct motions. LARGE FROLIC earns more than a coaster. ~~ We are the only builders of the CIRCLE SWING and weavers of Reed Seats and Sides for Swings and Frolics. ; NOVELTY MACHINE CO.} . 2 RECTOR STREET, NEW YORK. ) CONCESSIONS TO RENT ——— SEASON 1913——— , BLOOMSBURY PARK RALEIGH, NORTH CAROLINA For Jap Ball Game, Cane Rack, Candy Wheel, Bowling Alley, Palmist, Ball Rack, Souvenir Stand, Candy-Makers, Photo Gallery, Play Ball i Machines, Lunch Room, or any other new and good attractions. ‘Ys Address D. F. FORT, Jr., General Manager. White City, Chicago MORE BEAUTIFUL THAN EVER Will Open May 10th What Have You To Offer? Address, WHITE CITY CONSTRUCTION CO., 63rd and So. Park Ave., CHICAGO, ILL.