The Billboard 1919-11-01: Vol 31 Iss 44 (1919-11-01)

9 re, ~ NOVEMBER 1, 1918 The Billboard 39 7" 2 ihoteineteate = were aii ieiteieieeniigeiliadas — RT RE NE —EEEe ES . The Scully Theater, Boston, is a part of the show was ‘“‘Figuerra,’’ in an European and really, as 1 say, 1 was over in France, and, an act to be put on in New York, before cordon Circuit, all small time, and has been American concern. 1 have been in vaudevilie being over there, I wrete a letter to Mr. it has been tried out and gotten in shape. There seed for, 1 think, the last six weeks or for about three years, when my %rother and O'Brien and put it in his hands, altho if I are those actors that have that conddence, that om sbouts thru the United Family Depart I had a show together. hadn't done that | think 1 could have booked they go ahead and have their try-outs on the i rhe Olympia, Boston, the same. The Q. You started in vandeville about then? my own act direct; in fact, 1 have been sure stage of a New York Theater, on their regular ote Indianapolis, was booked for a few A. I was about 15 years of age when | had of it. bill, but they are taken at a disadvantage in so i ot of the Chicago office of the U. B. O. my first vaudeville eXperience. q. What trouble bave you had, about condoing it. att time The Francais, Montreal, ‘was Q. That is about 20 years ago? tracts, if you have ever had any? Q. Now, what you say is that a try-out is coieadl ror a few numbtr of weeks thru the A. Yes. ; A. No, no trouble at all, necessary and it is depending upon the ability United Booking Offices, small time. : Q. How much was your salary then in vaude Q. You have always had good success in of those who take part in it as to the length Mr. Walsh: Was not the family in Rochester? ville? : routes’ ay of time necessary for the try-out? Mr. Casey: No, it was booked by Gus Sun. A. Well, that is bard to tell: | was with a 4 Yes. Generally, I open up along in SepA. And the material. Mr. Walsh: Who was the Fulten in Brooklyn noked by or are they booked by now? vir ‘Casey: That is in the Marcus Loew Cir ca Walsh: How about the American in New vd casey: That is also Marcus Loew. Mr. Walsh: At that time was it booked by Morris in 1913? Mr. Casey: J don't think so, in 1913 andl 14: the Loew office took it over about 1910. Mir. Walsh: How about the Empress in De Detroit? Grand Rapids. rhere is a house in Grand Rapids hooked by the U. B. O., and I think the name «the Empress. I have forgotten. Mr. Walsh: Who books the Knickerbocker tn Uhiladelphia ? Mr. Casey: Sheedy. 'The statement was received in evidence and vurked Respondent's Exhibit No. 134.) Mr. Goodman: 1 offer in evidence a list of ets played at the Winter Garden, controlle: » the Sbubert Theatrical interests, and afterwards played over the Keith Circuit. This list vivo shows some of these acts played the Cen tral Theater, which is a theater giving Sunday vaudeville shows, operated by and controlled y the Shubert interests, and covers the perior fom about the beginning of the season, 1917 Vr. Casey Mr. Walsh jown to about October, 1918. As an explanatio: we will take the Grst act of the list, Fre Ardath and Company, played the Winter Gar len October 7, 1917; that must have been some <onday show where they gave vaudeville, anc en on October 8, 1917, it played over the seith Cireuit for a period of twenty-five weeks Mr. Walsh: They were in proguction, weren't Mr. Goodman: They may have been, but 1 ce mot care what they were in. The object is te show ects that have played a vaudeville en gegement at the Winter Garden on a Sunday, whieh subsequently played over the Keith Cirewit, ‘The same was received in evidence and marked Respendent’s Exhibit No, 135.) Me. Walsh: In reference to those other exbits that have heen offered in evidence. |! wake no admission as te their suthenticity Mr vox man Ther are snbjeet to correction Mr. Walsh: Ami | simply admit that if the were called as te the figures and witnesses statements made im the exhibits that they would so testify Examiner Moore: These papers are net to be pied inte the recerd, simply made op and a > 3 as exhibits? Mr. Goodman: Ves We will stipulate that the B. F. Keith Ex formerly named the United Rocking Offices, is doing business in the Citr of New York under a license jicsued by the Commu. sioner of Licenses of the City of New York te conduct a theatrical agency. and has done since 1910. That the Marcus Irew Booking Acency simi larly bolds license from the Commissioner of licenses to do a theatrical emplosment agency bosiness and has held similar licenses for a period of years back, I do not know just bhew many, And, also, that the Amalgamated \audeville Agency similariy holds a license from the Com missioner of Licenses in the City of New York no which the Moss and Brill cireuits and other theaters book their attractions. Mr. Walsh: It is also admitted that William Fox bas a similar booking office license? Mr. Goodman: Ther have an office. Mr. Walsh: And that they book without a liwenee? Mr. Goodman: That 1 do not knew. 1 know that William Fox operates a chain of vaudeville theaters, but what the condition of bis Dustness s I do not know; he ix not a respondent nere Tony BE. Hunting was thereupon called as a witness, and, having been first duly «worn, testified as follows: DIRECT EXAMINATION Ky Mr. Goodman: Q Your age and address, Mr. Hunting? \. My age is 34 years old Inst June. My address is Fairhaven, N. J Q. How business? long have you been in the show A. Thirty-one years. ot You come of a family of theatrical peo A. Yes, sir; I was born with a circus. Ip fact, | have not been off the road in thirty four years, Q. Your father and mother were both In tne rene? A. Both owned a circus. Q. At the present time you are doing a Vauderiile act? A Yes, sir, Q. Playing where? \. At the Royal Theater this week. Q bat is a part of the Keith Cirevit? . es. pot), Bonked thru the B. F. Keith Vaudeville -Achange? A. Yes sir Q. How many people in your company? Q Two, my wife and myself. r And the name of the act is Hunting and rancia? \. Hunting and Francie 9 What is the nature of the act? Comedy, singing and dancing act. » b. Mid you make your start in the show he e* in the cirens; did you do any work in cireua? A. Yeu, * A the cireus where did you gradu A. I left the elreus years of age. was 8. and whe when 1 was about 12 I was an apprentice boy when | 1 nl was 13 1 left the cireus and went with a burlesque show for a couple of years. After that two years with the burlesque thow I then went into vaudeville. My frst family then, the Four Huutings. | was getting my first year, | think, $15 or #18. Q. That is, your individual share? A. Yes, the tamily paid me, you understand. Q. Who constituted these Four Huntings? A. My brother his wife, bis father-in-law and myself. Q. Hoy long did they act, that is, the act of the four of you continue in vaudeville? A. About eleven or twelve years, 1 believe: something like that Q Will you state, at the various What salary they used to receive? A. Well, it was, for the first two seasons, | do not know exactly what they get: | knew 1 got a litle raixe each year, from 818 to $2z te $25, and then £30, aml | knew that finally the last season they got $500, ana we eacn had an equal share, that is, the four of us had an equal share, and that was $125 was my sbare the last four years. Y. Was it after that that you and wife went out in this present act? A. Well, ne; the first three vears after | was married the Keith Office booked the twe ucts together, booked the family, the Four Huntings, and my wife-—she had a single turn and they used to book the two acts on the same bill. Q. That is so that you and your wife A. Se that my wife and 1 could be together. Q. How long did that continue, did they do that? A. Two years. then I! left the fami‘y and went to work with my wife, my own act Q. How long have you been playing in th act with your wife alone? A. This is the eighth stages your season -eight years, What salary did you secure in this act with your wife? A. You want me to tell that here? Q. Yes. A. $275. Q. And after that did you get more money? A. Yes. 1 managed to squeeze a little raise each year for changing my act a bit in the act and semething in the stuff! = that I could get a Q. Of course, rou had te keep your act up te the public demand... the changing of taste, to make it a success; that i«, changes are necessary from year to year of an act in the vandeville business in a raudeville act? A. Very necessary. Q. How much are rou getting now, you and your wife together? A. Together, from $425 to $450, jes, (). When rou were getting the lower salary with rour wife. rou were only doing two shows a day? 4. Only two shews a dar and one or two weeks in Erie. Pa 1 did three, that is the only week on this season. if | remember. Q. Have you any other circuits that you work over except the Keith and the Orpheum ~ ntuethbing ~ enery and little raise two salar Cirenit? 4 Never, never have in vandeville; never played anything etse De rou rewll how mach rour wife got when she was playing on the same bill with the Four Huntings and by herself? How many years was she playing alone? Two yeare. Was that ber salary both years? Ves . Have you had a special agent or repre sentative to contrel you in connection with your bookings” Yes, I have always had an agent. Q. Whe was that’ A 1 had one man, Mr. Plunkitt, | think, for thirteen years altegether, since he started. Q. How did you come to have him as your arent? \. At the time we were being handled by Farney Meyers, and I believe that Mr. Ilunkitt was in the office and worked for Mr. Meyers, and when Mr. Plonkitt went into business for bimself I think that the family was the first act and the only act that went with him. and we were with bim for two years, and then |! feeorer went to France, after those two years. anc when I was over im France, of course, | did net need any of his assistance. Q. What were you doing over there? A. Entertaining. Q@. Who did you go over there sor? A ‘or the Overseas Entertainment Company. Q. Who formed rour company; who went with you? 4 My wife and myself. Q. Hew long were you over there? A. Fifteen months altogether. Q. What did you receive for yourserrves oer there? A Nothing. only my expenses; I was given an expense account, a month'y drawing account each month Q Whe sent you over there? A. The Overseas Theatrical League. Q. Mr. Albee in charge of that league? ‘ He was the vice-president, and Mr. Cohan (George M. Cohan) was the president. Q. Do you know who furnished the funds for carrying on the Overseas League of which Mr. Cohan was president and Mr. Albee vice-prestdent? A. No. sir: that T don't know. All I know is | was at a meeting and any one who was over the draft age or was not in the draft could volunteer, and so we went over. Q. How much did you pay Plunkitt for serving you? \. Five per cent Q. And you paid the United Booking Offices five per cent in addition? A. Also Q. Is that arrangement satisfactory to you or do you think it is unsatisfactory? A. It has been satisfactory to me. I have had a chance to change the method of booking; what I mean is, I have bad a chance to book direct. 1 have not bocked direct this year, a tember and play along in May, the middle of May, and then 1 go home for the summer. q. Are you a member of the N. V. A.? A. Yes, Q. Are you a White Rat? A 1 was. Q. Have you resigned or dropped out? A. I resigned, yes. Q. <Any reason for your resignation? A. Yes. My reason for my resignation was that I was in the order for a long while, I was in the original White Rate, the first strike. Q. Teil us fully what your reasons were? A. Well, I didn't like the way the thing was being taken care of, | didn’t like the method that they were using. and the same with many another acter who was working at the time. I simply resigned. I could not see my way clear staying in an organization that was going to use the tactics that they were. I didn't like the newspaper work to start with. I thought it was antagonizing. and could not, as I see, get us anywhere or anywhere near any agreement. It was net getting us anywhere, it was geting us all into trouble, and getting us deeper iute a hele all the time; and then I have a little to look after, I have a little interest outside of the show business, | have a family and I have—imy wife has a family that has to be tuken care of. and seme of the people that don't care about taking care of their familes, and den't look after their families, but let other people look after them for them, fortunately have relations to take care of them, for such people it is all right, but I have something different to look after, and I have simply to use my own judgment, and that is what I thought was right and I did use my own judgment and decided what to do and I did so. . De you know what is meant by the closed shop in vaudeville? A. So far as I can understand it means that a closed shop mewns that whatever organization is in power its members may work and the others shall not work. Q. In other words, yon have to be a member of a certain organization to get work, is that right? A. Yes, sir. Q. Are you in favor of that sort of policy? A. Not the closed shop, no, sir, I don’t think it is practical at all in our business. Q. Let us have the reason why you don’t think practical, Mr. Hunting? A. Well, 1 think it will hurt our stending, I think it will burt our standing and our salaries. 1 believe that in our business the matter of the individuality has to play its part and each individual has to fight his o battles to a certain extent. What I mean is in regard to that is fighting about your own yoods, do your acts, in keeping your acts up and fighting for your salary and for your routes. My routes do not come out there, I do not wait out there for them to send them down to me at Fairhaven, I cannot wait down there at Fairhaven, as they will not come down there, neither will my agent send them to me. I have got to come up here myself, and fight for them and argue with him, fight with him. and try to show him where I should have tits or that, or whatever it is I am after. There is lots of times I would not get things if I did not come up and fight myself. You think the personality and individuality ef the actor is semething that you cannot unionize or standardize so as to make it neces sary for you to be a member of a certain order and subject to the dictations of that order? \. Well, 1 do net think it can be carried so far as that as to make it a closed shop, that is what I don't believe is possible You think it would have a bad effect on the theater itself, the closed shop? 1 think it would so far as the vaudeville actor is concerned, I don't know about the theater, possibly it would in the theater too. Q. Anything that affects the vaudeville actor naturally would affect the theater in which he plays as a profession? A. Surely. I am only speaking from the actor's standpoint, the actor's view. Q. Do you happen to knew how bookings were procured fifteen rears ago and twenty years ago? . Fifteen years ago, yes. You do? Yes. In vaudeville? Yes. . Was there any ecientific method or srs tem of booking in those days? A No, sir, there was not. Q. Do you consider the methods employed in booking today superier to those in vogue in those dars? A. Ip a way, yes, but of course the same thing fifteen years ago. there were certain acts that were in demand, certain acts that were not in demand and the acts that were in demand were better. What I mean by ‘“‘demand’’ I mean acts that the public wanted. they were working the same way as now. Then there was noIn the St. James building I remember when I was a young fellow there was the same thing, there was a booking office. Of course, houses like Mr. Shea's used to do their own booking in Buffalo and Toronto and few houses like that, Q. Did you ever find it necessary to try-out your act and break it in before coming on to the regular bill? A. Yes, sir. Q. Is there any specific time that you could determine in advance of trying out an act as te the amount of time it should take? A. It is all according to your company, according to your vehicle, you have got to con sider those, you may have a play written for you and then rou go out and try to put it on for a week or two weeks or three weeks, it may take you that time before you can get it into shape. Generally it does not take any longer than four weeks to get an act and the people of the act im shape but it is absolutely necessary to have try-cuts, as it would be absolutely foolish for ororer Q. And the material? A. Yes. Q. Nobody can state or make a rule to fit every case exactly? A. No. I may well have an act and put it on and the very first night it is a success, or the end of a week it is a success and it may be brought in and put on the regular bill. Still that same author two years later may write an act for me and we may try it out for two weeks and keep on trying it out and not seem to get it into shape and he may have to come on, the author may have to come on and fix it up for me before it can be used, I cannot say how much time it is going to take for any try-out, so many things have to be taken into account. CROSS EXAMINATION By Mr. Walsh: Q. How long have you belonged to the N. V. A.? A. How long? Q. Yes? A. Oh, I should judge three years. Q Your objection to the closed shop applies as well to the N. V. A thing, I suppose? A. As to the closed shop? Q. I Say the closed shop—Your objection applies to the N. V. A. ae well as any other organization? A. Yes, I object to a closed shop, yes, sir. Q. You have signed a contract in which you Erssmntecd that you were a member of the N. fo. Met as well as any other A. No, sir. Q. Would you sign such a contract if presented to you? A. That is a question, I have never seen such a contract like that. Q. You never saw such a contract? Aa. No. Q. 1 am asking you a question as man who has had a lot of experience in the show business all your life. whether or not you would sign such a contract if it were presented to you im which you would guarantee that you were a member of the N. V. A.? A. Well, the conditions might alter a case there, my case. Q. What is the condition? A. Well, it might be that I would be im a position some time financially that I would heave to sign it, a contract. Q. What conditions? Mr. Hunting? A. Well, conditions, things at home, property that you have, obligations you have to meet, besides being an actor. Q. You mean, how badly you needed @ fob, is that jt? A. That is, it might come down to that. Q. That is what you mean what the conditiens were at home and how badly you needed a job? \. Yeo. Q. Now, you are not a member of the Actor Equity Association? A. No, sir. Q. You kept informed in thie papers as to the progress of*the strike, of course; you had an intelligent interest in itr A. 1 was away at that time and I did not get back from France until the last three days of the strike. Q. Did you read in the paper end learn that a great many of the actors resigned from the Actors’ Equity Association when the strike eame on? A. No, I didn’t read ‘that. Q. You didn’t see that? A. No, sir. Q. Well, didn’t you understand that te be the fact, Mr. Hunting? A. That a lot of the actors resigned? From the Actors’ Equity Association when the strike came on; didn’t you understand that was true? A. I did not. When the strize came on ! was in France. and I want to say this eo thar everybody in here can hear it; at that time I was in France when the strixe came on, so 1 knew nothing about it, nothing, and |! didn't hear anything about it, and I was not thru the actors’ strike at all; I did not get here and I did not hear about it until I got off the boat in Hoboken. | am not asking you for any personal matter? A. I understand. Q. But the facts are those. Were you in the army? A. No, sir. I being over the draft age |! rolunteered as an entertainer, and I had thirtyseven weeks signed up at the time which I canceled to go over there. . Did you ever hear of the Actors’ Fidelity League? A. Yes, sir. back home. Q. Didn't you understand that was largely composed of actors who had resigned from the Actors’ Equity Association? A. No, I know that some of them had. but 1 theught it was a sort of opposition orcuni zation. I didn’t understand it to be any kine ef an organization that had a different ites than the Actors’ Equity, but I didn’t know that there were a good many that had resigned from the Actors’ Equity. That I didn’t know. REDIRECT FEXAMINATION By Mr. Goodman Q. Are you living at the N. V. A. clubhouse ow? ‘ I have new, since I have been A. Yes, sir. . Q. You said you are living there now when you are in New York playing in New York? A. We are living there now, and have been living there for two weeks. By Mr. Walsh: Q. That is, your wife living there, too? A. Yes, sir. By Mr. Goodman: Q. Let me ask you this question: Do you know what the hotel rates are in New York? A. Yes, sir. (Continued on page 40) oe » rots ~ 4 + ® sy . = “x ne wit ae tebe Vins da a gia % —— yet ee vee ee ee eal ——— ee ll ceatiprncer nt tiwrerenreaintisnas Magel ecene Ene i