Variety (Mar 1907)

VARIETY KOHL & CASTLE ADD TWO. Chicago, March 1. Following the recent upset in vaudeville brought on by the sudden affiliation of the Keith-Williams interests, which also carries with it under booking arrange- ments every theatre in the middle west controlled or represented by the Western Vaudeville Association, and the announce- ment that Klaw & Erlanger threaten to invade the opposition territory, comes an official statement from the Kohl & Castle office to the effect that the Chicago Opera House will again be devoted to vaudeville when the allotted term of the dramatic stock company expires at an early date. It is reported from the same source that the Academy of Music on the West Side will also be converted into a vaude- ville theatre next season. The Academy is on Halsted street within a stone's throw of the Haymarket, and has for many years housed popular priced com- binations in conjunction with the Stair & Havlin holdings. George Middleton, of Tate & Middle- ton, is interested in the lease of the the- atre, and it is said that his connection with Kohl & Castle in vaudeville will make the conversion of the house to va- riety performances a certainty. The added two houses will give Kohl & Castle five first-class vaudeville theatres in Chicago. The Chicago Opera House is said to be too expensive for the stock company, and the needs of more vaudeville is alleged to be the reason for the transfer to its for- mer use, but the fact is obvious that Kohl & Castle, who developed the vaudeville field in Chicago, are preparing for oppo- sition. Mr. Kohl does not directly at- tribute the changes in the houses' policies to the new Klaw & Erlanger circuit and its reported invasion in Chicago, but it is admitted that if there is going to be war every movement of the opposition will be fought to a finish. RICKARDS KILLS OPPOSITION. Sydney, Australia, Jan. 16. The National Amphitheatre, after open- ing for variety performances on New Year's Day in opposition to Harry Rick- ards' Tivoli, which it adjoined, was obliged to close last night by the authorities for repairs, costing about $25,000. The building was formerly the National Sporting Club, and held many pugilistic encounters. James Brennan, a local book- maker, won $60,000 on the races one day and immediately conceived the idea of making a variety hall out of it. It did not affect the Tivoli, the National bills having been made up of native talent entirely, while Rickards depends more upon his imported features. "The Sydney Sportsman," however, in its issue to-day intimates that Rickards conspired with the government to place the National Amphitheatre in the vaude- ville hospital, and the attempt has been successful. Rickards felds a big sway here, as Henry Lee, ray Rial, Tom Nawn and others can testify to. He is always ieady to fight, for his houses are rolling wealth into his coffers, and Mr. Rickards will take no chance on allowing any of it to escape. INDIANAPOLIS' NEW HOUSE. Chicago, March 1. Chris. O. Brown, John Nash and Messrs. Van Duzee and Burroughs have secured a ten year lease on the property in Illinois street, near Chesapeake, Indianapolis, Ind., and will erect a new first-class vaudeville theatre to cost $100,000. The plans as drawn up by Bohlan & Son, architects, call for a modern theatre with a large seating capacity and a hotel in connection. The scheme is being financed by Volney T. Malott, President of the Indiana Na- tional Bank, of Indianapolis. The house will be ready some time in August and will be known as the "Majestic." The International Theatrical company and Sullivan Considine combination will fur- nish the acts, which will be of a high order. Why the Vaudeville Artists of America Should Organize By SIMS. A CREDITABLE AFFAIR. It was generally remarked along Broad- way on Wednesday that the first annual ball of the White Rats of America, held at the Grand Central Palace the evening previous, had been one of the best man- aged, most orderly and pleasant affairs ever given in the city. Daylight was warning the dancers of the hour when the gathering finally dis- persed. Preceding the dancing an enter- tainment was given to which Tony Pearl and Matt Keefe, Major Doyle, Polk, Kol- lins and the Carmen Sisters, Herman De- seo, Ethel Kirk, George Fuller Golden, May Belfort, Stanley and Wilson, Ken- nard Brothers, the Hurleys and Tom Moore contributed. The vaudeville dean, Tony Pastor, the only manager belonging to the organisa- tion, delivered a speech from the stage, and Ren Shields made the announcements. The attendance was large, and the ball- room floor resembled a society event. The ball will yield a profit to the White Rats of about $2,600. Comment was frequent during the evening that the affair was a credit to the Rats and to the artists at- tending. For next winter, when the second annual event will be held, R. C. Mudge, president of the society, has evolved an original idea in connection. Mr. Mudge's scheme is to give the next affair as a masquerade ball at the Madi- son Square Garden, and it shall be re- quired that all actors appear masked in their stage characters, whether from va- riety or the legitimate. The pictorial ef- fect is depended upon to draw largely from the public. Mr. Mudge has received many favorable opinions on his idea, and the details will be duly worked out. ADVERTISING FOR BUSINESS. Toledo, March 1. Business at the Valentine Theatre has been dwindling to an alarming extent for the past few weeks despite of the ex- cellent bills. Otto Klives, the manager, is making strenuous efforts to stimulate business, and has recently commenced ad- vertising on an extensive scale, using large stands of paper on all the best down town bill boards, and snipes and three sheets meet the eye at every turn. Frank Boudrie, the advertising agent, is arrang- ing* for excursions, and the Valentine will be billed like a circus for miles around. Never has a better time presented itself for the organisation of the artist than at present. "In times of peace prepare for war" is a standard maxim among nations, and the artist can not afford to disregard it The manager is to-day catering to the artist. It is a new sensation in the man- agerial breast, and he is not offering the olive branch to the artist through love of his employee, but because he wants the artist. He needs him. What more substantial proof could the artist have of his importance. Why this mad rush to furnish an equitable contract? This is not the first season the vaudeville artist has contracted with the manager. The Keith programs carry a line which tells that Mr. Keith has been engaged in the amusement purveying business for over twenty years. Never in any one of those years did he give a show that did not require the services of a vaudeville artist. There are other vaudeville man- agers with nearly as long a record behind them. What concessions were granted in the past? Only those that were fought for, and even after gained, were not retained. It is not intended here to say that con- ditions at present being different, an equi- table contract would not have been given the artist by the United Booking Offices. They would have undoubtedly received such a contract in any event as Messrs. Albee and Williams expressed their inten- tion of doing so before the Klaw & Er- langer proposed vaudeville plans became public. And yet through all these years there has been no equitable contract issued to the American artist. The reason has been that each artist was for himself; looked after his own interests and the manager dealt with him alone. After the White Rat strike, organization and the White Rats laid dormant for some time. With the revival of interest, and the formation of the Vaudeville Comedy Club came concerted action to right griev- ances, and out of this came the agitation, among other things, for a proper contract. Following the amalgamation of Williams and Keith came the desire of the manager to enlist the good will of the artist. An equitable contract was promised and no doubt will be given. The manager is not protecting the artist by this; he is pro- tecting himself. The manager is not in vaudeville for a season or five years. It is an established institution. He looks for- ward to the future when his children shall take up the reins of management, and their # children after them. The manager is looking into the future. Why should not the artist do likewise? Accepting the opposition of Klaw & Er- langer to the United Booking Offices for granted, there is only one end to vaude- ville. That is the complete control by either one of the contestants. Whether it be one, five, or ten years, that result will be reached. Most important of all, when the defeat has been accomplished, it will virtually amount to one man being at the head of the vaudeville business in this country. The opposition that will then spring up will be mushroom, and take years to solidify. That is what the artist should look for- ward to. If the managers are going to fight among themselves, allow them to. That will work no barm to the artist. Hut prepare for the future, and prepare by organizing. As the manager knows yaude- ville is his business and expects to remain in it, so is the artist aware that vaudeville is his field. As long as the manager has his house open offering a bill, so long will the artist be there to give the show. Without the show of what use would be the vaudeville theatre? Without the artist, of what use would be the show? This has been proven in the London strike. Doubtless the manager paid heed to that, and the American artist should Mudy the organization methods of his English brother. There are two American vaudeville so- cieties. In perfect plainness it can be said that it is a pity that more friendly rela- tions between the two do not exist. The headliner with a fortune of possibly $50,000 requires no protection. He is pro- tected by his independence. The smaller artist though must be looked after. Had the English artists held the belief of some well-known American vaudeville players, there would have been no strike in London. The big people in the business over there struck for the benefit of the smaller ones. The smaller artist here is helpless. There is no systematized effort made to bring him into an order. How many artists now playing with the sixty-nine regular burlesque shows on both Wheels are members of either the White Rats or Vaudeville Comedy Club? Has either so- ciety given a thought to how many come- dians and acts the burlesque shows are carrying? How many acts are there in the West who have never played in New York City? How many acts are there in the West who are not members of either organiza- tion? How many vaudeville artists are there in the United States, and how many American artists? How many artists belong to the White Rats of America and the Vaudeville Comedy Club? How about the remainder? Can there be strength without them? The artist who says "yes" is making a serious mistake. Could the White Rats affiliate to-day with the T. M. A.? The same of the Comedy Club? Isn't the T. M. A. neces- sary to a complete organization? What was the effect of the musicians walking out of the London theatres? Every important person in a theatre is necessary to a full organisation, but first of all let the artists organize and organize thoroughly. Theories and experience brought down from times when conditions were vastly different should not prevail. If there is to be a third society, let it be an open one.