The Billboard 1921-04-16: Vol 33 Iss 16 (1921-04-16)

APRIL 16, 1921 The Billboara 3? PEN LETTERS -times VIEWS are livest NEWS” : Isn't it @ fect that the kind of letter you find most interesting and readable is the one that says much ? Much verbiage obscures the point. Shanghai, China. Editor The Billboard: Dear Sir—Tell any showman contemplating a tour of this part of the world to get a line on the rikishaw charges before he enters ome of the contrivances. If you give a rikishaw coolie too much Le yells for more, If you give him too little he looks at you reproachfully, put slinks away. I’m not magnifying the thing either. They know foreigners by being overpaid; they recognize residents by Being underpaid. It's a funny thing 1o matter which way you look at it. Room boys in hotels work jike slaves and grin with deep appreciation when you hand them $1 Mex. at the end of the week, For this they dress and undress you, press your clothing, shine your boots, take the latter off and put ‘em on while you are still in bed, almost—and being almost in and out of beg is one of the great indoor sports of this land. Remember how You used to wake up in the morning and wonder now you got home the night befere? Booze is so cheap that taking a bath in it costs virtually nothing, India is bad for shows this year. is o little better. Java, they claim, ing its own. Manila is on the blink, Meeting a lot of old showmen around the streets and hotels here. Al W. Martin, of Uncle Tom's Cabin fame, has been in China some weeks, He is now on his way back to the States. Chafferle and Palermo, magicians, are cleaning up. They nave just started South. Reynolds Dennison and his clever company are in Tientsen now and will open at the Olympic Calcutta is hold Mareh 7. They are well liked and doing splendidly. The Banvards are scheduled to arrive shortly. The Bandmann Opera outfit is booked »m for early April. Quintrell and Helen Duval just passed thru on their way to Manila. Cordially. (Signed) MILES McCARTHY. Editor The Billboard: Dear Sir—When I played the Pantages Theater here a few weeks ago the management caused circulars to be distributed among the patrons. A copy of one of these circulars anpears below, I think it would be well to publish it, as it is a very broad statement for the Sunday shows and managers thruout the country may show it to other broadminded ministers who are in favor of letting theater-goers have a little recreation: “THE FIRST UNITARIAN CHURCH William E, Clark, Minister, Will bold Sunday morning services in the PANTAGES THEATER Beginning with Easter Sunday. “Mr. Clark is a preacher who believes that God wants us to laugh, and is pleased with those who make us laugh. He is not in sympathy with the movement against what some are pleased to call ‘Commercialized amusements:’ because he believes that all people should be paid for their work, when that work is a profession, whether it is done on Sunday or any other day of the week. And so long as there sre those who want amusements on Sunday, he believes that the people who provide amusements should be paid for the service rendered, just as the ratlroads, hotels, preachers, Oorganists, musicians and all others are paid for the service they render on Sundays. “Present day themes are discussed in these Sunday morning sermons, which some call ‘lectures,’ because Mr. Clark is a Christian who takes the ‘Gclden Rule’ seriously, and does not think it necessary to try to convert the Jew, Hindu, Mobammedan, or any other religionist to his belief. “All the religious literature of the world is ¢rawn upon for illustrations and inspiration. Mr, Clark is a friend to man and to all institutions that help provide for the necessities, comforts and happiness of mankind, “If you have no other place to go on Sunday mornings yon are invited to hear him at the Pantages Theater Sunday at 11 a.m."’ Yours very truly, (Signed) NOODLES FAGEN, Of Noodles Fagen and Elsie. —_— = Editor The Billboard: Dear Sir—Much has been said pro and com anent the house managers of the South. Human ratore, as it is used and abused by the genus “homo,”" ebbs and flows to and from the high tide of perfection accordingly. With a remarkably few exceptions (why impose all the time on the disinteresting minority?), the independent theater managers of the South are competent, red-blooded fellows of the gentleman order, who, having an investment of greater or lesser financial imgpartance, endeavor to Sustain the standard of attractions they book ‘ato their respective houses. : Tt would appear that much of the unpleasant things one hears en route thru Florida, Georgia ‘nd North and South Carolina has some material weight of a decidedly relevant nature with regard to the character and framing of not & fow of the various kinds of attractions which hoh} themselves ont as competent, well organized and thoroly efficient entertainers, when, as © matter of fact, they are far indeed from such. For the most part the Southern theater Manager has come to sense the uselessness of such attractions, hence uses such means as may be applicable to keep them out. Unfortunately Mr. Manager frequently acts adversely to & meritorious attraction because he has been “stung” with one or two “bad boys.” Alas, they are ever with us, and it is from this unholy tribe that come most of the unkind and very much unwarranted {ll reports. The South has not been a golden path for attractions this past season; however, those of Danville, Va. Brevity is the soul of wit—and it makes for clear the sterling, high-grade caliber have found such support as localities cound afford, enabling these companies to keep afloat and going, The Southern theater manager is standing in his own light. He makes the real meritorious attractions suffer for what he has lost on tle poorer ones, when he should protect himself thru organization with his brother managers for reports on all shows. In this is the soluticn for the protection of the attraction of high-grade entertainment value, protecting the manager, the local theater-going public, and assuring all a successful occasion. First as a financially satisfactory date to company and house, and, secondly, eliminating to a marked degree the possibility of disappointment to the local patrons. Don’t knock the house manager all the time. True, occasionally he’s ‘‘hard boiled,’* but if he will keep the ‘‘bad boys’? out (they are neither a source of joy nor uplift to the house, the public or the show business), he will cease to be “harqa boiled’’ and will find he is doing more business with a more liberal concession to the good business drawing companies. zi Let's hope that next season will see an im provement over the past. Yours for the best in the theater always, (Signed) J. B. CONNELLY, Business Rep., Vierra’s Hawaiians. --__ London, Eng. Editor The Billboard: Dear Sir—For a number of years I have known and respected Mr. Ea E. Ford and as recently as July, 1919, at Barnsley, Eng., Y heard him express himself in what might be called a glowing eulogy of the policy of Mr. Harry Mountford and myself in early V. A. F. days. It is a shock to me to find he has now gone over to the managerial camp, and, were his letter only over his bare signature, I shoul! simply feel grieved at the passing of an erstwhile good fellow and let it go at that. But in his letter of praise of Mr. Albee and the N. V. A., he goes too far, for he siens himself “Ex. Com. Variety Arfistes’ Federation.’’ That is a horse of another color, and where I boost right in. I claim to be one of the founders of the British V. A. I. I was on the provisional committee, then on the first elected one and I am a committee man now. I think I con say I was Harry Mountford’s right hand man in the one and only strike of 1906-7. Happily now strikes over here are unthinkable. We have earned the respect of the managers. We arbitrate all disputed problems and peace and good will prevail. But we had to fight for this and today we arg a bona fide trade union of variety artists, affiliatey with the Trade Union Corgress and, what Mr. Ford seems to forget, affiliated with the only bona fide trade union of variety artists in America, the American Artistes’ Federation. Now, in case American readers should be unduly imoressed with Mr. Ford’s importance, it might be well if I give them a little lesson in proportion. Our committee numbers one hundred and twenty-six. Like other committees it has its workers and its drones, and its inevitable window dressing of big names. Some by virtue of being well in the market and well booked can't attend as often as they wish. But to explain it as nicely as I can, we have three paid officials and a very small but devoted little band, who do all tne administrative worl and run the V. A. F, I hate to make individous distinctions, but I challenge Mr. Ford to prove he ‘‘cuts any ice” on our committee when in England or does any of the real spade and shovel work. I challenge him to prove that he is a mouthpiece who carries any weight with our rank and file, and I challenge him to prove that I am not. That's just to get a proper sense of proportion and Mr. Ford’s importance. Of late a determined attempt has been made to *‘get at’® theeV, A. F., both in England and America, to alienate them from their natural atfiliation wit! the A. A. FP. Now, I don't say Mr. Ford has been ‘“‘got at.’ I know him as a gentleman and a good, sterling, honest Britisher, but I do say he has forsaken the narrow for the broad and easy path. He knows, or should know if he signs himself V. A. F. Ex. Com., just what the N, V. A. was formed for, who is back of it, who finances it end what every honest British performer thinks of it. He knows that our affiliation with the A. A. F. was only recently reconfirmed on our minute books. The enemies of the A. A. F. should be enemies of their allies, the V. A. F. of Great Britain, and having said that to American readers I can, perhaps with more weight than Mr. Ford, sign myself, Yours truly, (Signed) BARRY ONO, i Ex. Com. Variety Artistes’ Federation, England; Ex. Com. Music Hall Artistes’ Railway Association, Ex. Com. Variety Artistes’ Benev olent Fund, Ex. Com. Cinema Committee V. A. F., Joint Com. A. A. and V. A. F., ete. Auditorium Theater, Lynn, Mass., March 26, 1921. Editor The Billboard: Dear Sir—In the issue of The Billboard dated March 26 there appears a “review” of two plays produced at the Auditorium Theater, Lynn, Mass. We will use the author’s own word, ‘‘review,’’ in referring to the article, but we feel that it might be better described by a more fitting term. (MUCK is what we had in mind.) We have no complaint to make concerning criticism; we welcome it, appreciate it, and grow by it, provided it be constructive and ultimately brings about needed reform, of which we admit we stand in sore need. But, since we are open to such free criticism, it seems bur fair that we should know the critic’s name. And since we have no means of defending ourselves, we ask that you publish this letter. and in accord with the policy of fairness always maintained by your publication, compel all future “reviews” of like nature to be signed, lest your critic be placed in that most odious class termed propagandists. It has never been our policy to reply to criticism, but when a review resolves itself into pitiful attempts at humor at our expense we find ourselves in a position somewhat analogous to that of President Wilson ang Kaiser SUPUUATEOUUTEROUEEEOOCEEUEUUEEESECTEEECTTEE EET EEE EE TEE EE TEEE ERT EE EEE EEE EERE EEE and for catalogue. TAF cts to lease on royalty basis. SUTTEUETTEEEL IF YOU WANT TO MAKE GOOD ORPHEUM, Banjos, Banjo-Mandolins, Tenor Banjos and Guitar-Banjos Vaudeville, Concert Orchestra, ARE THE WORLD’S BEST. RETTBERG & LANGE, East 24th St., n SULTEUUAOUUEUAAOUUUEEEEOOUOTUUEUOUUUEECEEOUSEEESOOOEUEEEEAOUOUEUAUOUUERRUOTEEEEOGOEOEDEU ED EUEEOEE EEE SE SR RN a SN EE I TT TTT he WRITTEN TO ORDER PLAYS, SKETCHES AND ACTS, Up to the minute, Original and Exclusive Material. Write for Liberal Will Assure Bookings. Old Acts Made New, Weak Acts Made Strong. Sketches and A W. E. NELSON PLAYWRITING CO. Suite 232, 1400 Broadway, Knickerbocker Theatre Bidg. (Phone, Fitzroy 6175), NEW YORK CITY. PUDUUUUEOQUUEODEODEDEAGOUEUDEQUOGUUEOUEGEUUEEEOUECUCEOOEOUERUEROREROREOUUREGEOEODDOEDOO EEOC RECTED Tt housands in use, r 2d Ave., New York. = 4 Terms Now. Our Material = We also have a aumber of = If in the city, call. = = = DREAM OF HOME By HEWITT & CORNELL, We have published some dandy songs within the last year, but never a better With its entrancing melody and wonderful story it is @ marked “hit.” send for it. Professionals and Orchestrations in your key are ready. STORK MUSIC PUB. CO., 1547 Broadway, New York. sumber than this. If you cam use this dandy [MUS IC PRINTERS 10 ENGRAVERS of anything in Music by any process. 4] Estimates gladly furnished. 43 years experience J inmusic printing. Largest plant west of New York. Established 1876 She OTTOZ IMMER MAN & S04 a nem MONEY WRITING SONGS A successful music composer and Contents: Correcting Your Faults, Songs Before the Public. book, Only one of its kind on the market. Only $1.00, blisher writes a book explaining how to make money publishing songs. vriting a Melody, Directing the Lists over 500 Music gg s Bg ey Bend? postpai oney bac’ you say so. Send for circular, neinnati, Ohio, bitious Young Composer, Your and Orchestra Dealers. You need this UNION MUSIC CO., Ci Wilhelm II, We have been torpedoed, and thet calls for a note. Now may we do 4& little refuting? In the first place, we are not a “Sozodont Leading Man,” we are a Pepsodent one. Our “‘prop’ smile is absolutely uncontrollable, as anyone will testify who uses that admirable dentifrice. Our dry, monotonous voice has been criticised before; it has a bass quality which we would gladly metamorphose into a tenor dij our stock work not require sixteen of the twenty-four hours daily allotted us. Our blue suit originally cost $75. It is a bit old, we will admit, and we conclude that our caviling friend must have been led astray in his judgment by the fact that he wears the ‘‘walk-up-and-save-ten” variety and therefore instantly recognizes the brand. It did neeq pressing, but we diagnosed both characters for which it was worn as being those requiring an unpressed guilt. So much for that! Now we regard personalities as being in somewhat bad taste, but in dealing with some of our fellow men we have to descend to their level and use their own tactics. May we express One or two deductions concerning our mutual friend gathered at random from his ‘‘review’’? First and foremost, we think his favorite color is YELLOW; we draw this inference from his unwillingness to use his name at the end of his article. He belongs to the “‘smart-alec’’ school of critics, who use flippancy to cover the lack of true analytical ability necessary to REAL criticism, This is proven by his use of the words ‘‘yclept,’’ “‘ilk,”’ ete., and bis motheaten reference to our friend Hamlet and his justly famous speech to the players. His is a commercial soul—he advertises a tooth cleanser so conspicuously; posibly he sells it as a side lfine-to eke out the meager pittance he Imust earn aS a man of letters. Why doesn't he tie up to a new and progressive firm? But We suppose his selling ability is commensurate with his powers as a reviewer. Possibly he has never heard that a pun is the lowest form of wit—he springs this on us, ‘**... yclept Minor Watson, and evidently named after. the key in which he plays.” And last of all, we must tell him that he labors under a terrible misconception of what our public considers the best. May we cite for his enlightenment that our most popular productions have been “Freckles,”* ‘‘Uncle Tom’s Cabin” and ‘‘Womgn Against Woman,’’ while ‘‘The Love of Su Shong.’’ ‘Lincoln, the Great OCommoner”’ and “The Lion and the Mouse’’ have played to only fair patronage. Just a serious word and we have finished. What possible good can such a review do? It does not reach our local publi¢, certainly the ones most interested. It simply piques one or two actors who may have developed too greut an ego, and in so doing makes them defiant rather than humble and willing to change thelr methods. And it might influence some manager who has no sense of humor to withhold a job from some one of us. Think it,over. Make him sivn his articles. We should hate to feel unkinily toward ‘The Billboard.” Very cordially yours, (Signed) MINOR WATSON. NOTE—We cannot compel a correspondent to sign his articles, but on the contrary we are under the strict necessity of protecting his anonymity wien he so directs. The writer in question wrote sincerely if pointedly. We recognize honest criticism the moment we see it. We do not see why a critic cannot be just as honest and less stinging, but the fact is that the day of the kindly reviewer who admonished gently and reproved mildly seems past. He now packs a club and the criticized gets back at him with a similar weapon.—THE EDITORS OF THE BILLBOARD. Lynn, Mass., March 30, 1921. Editor The Billboard: In your issue of March 26 there is a review of ‘“‘Baby Mine’ and “The Nutmeg Match,” present by the Auditorium Players in this city, which is so grossly unfair to the players, the theater and the city that it merits the reply of a layman. My sole interest in the Audi. torium Players is as a theatergoer. I have seen stock productions in Lynn from the time of Lindsay Morison, ten years ago, to the present day, and feel as capable of judging as the writer of your review. Perhaps the best answer to his attack on the only legitimate attraction in Lynn is the fact that never before has a stock company in Lynn enjoyed greater patronage than the present one. Surely your writer does not seek to reflect upon the intelligence and taste of the theatergoing public of Lynn, which supports the house! Minor Watson, the leading man, and Valerie Valaire, leading woman, are the particular targets of the venom of your reviewer's pen. Miss Valaire was leading woman for Mr. Morison ten years ago and enjoys a popularity here which has never been equaled. She has made herself dear to the hearts of Lynn people both on and off the stoge The record of any actress, who can remain in demand as a leading woman for ten years, speaks more for her ability than the criticism of your reviewer. Mr. Watson, the leading man, was recalled to Lynn after a successful season here be fore. He returned last September and has played to big houses since. If he is as disreputable as your reviewer seeks to prove, then indeed must Lynn people be gullible. No, he is not. He is very satisfactory from every standpoint. He was succeeded last season for a few weeks, by one Jack Hayden. Mr Watson is playing here this season, Mr. Hay den is not. What's the answer? . As for the criticism of the theater contained ‘9 your review, perhaps it would be well for yo\ writer to recall that Shakespeare was often produced in the old days in barns, back lots and what vot. Posterity was not ceeply impressed with the fact that perhaps one light was out in the lobby of the barn. No. The play’s the thing. Lynn people like Mr. Watson, Miss Valaire and the Auditorium Theater, and some of them, at least, resent the attack published in your recent issue. In fairness to these and to the players who have given us their conscientious efforts this senson would you consider a notice in their defense? Thank you. (Signed) H. F. MATLTON. NOTE—We thank Mr. Maulton for his interest. Truth in criticism is relative. No two men would see it alike. But criticism there must be. Without it art langnishes and lets down.—THE EDITORS OF THE BILLBOARD. . ee ee = ca oy x ~ ae a 4. a sis — , = i: e £ bea 5