Variety (March 1908)

VARIETY WHAT ARE THE BEST STEPS FOR ARTISTS' PROTECTION? London, Feb. 25. Editor Variety: There is another question to answer be- fore considering the above. Is it necessary for artists to combine for protection? I thought it was as far back as '08, when the most extensive vaudeville circuit in America consisted of four houses, and the heads of that circuit were contemplating insisting upon all acts doing three shows a day. I had done "three-a-day" up to then, but as a protest to a palpable injus- tice to people to whom it would have fallen harder than myself, I decided not lO do thr«!? a day any more, and cut out the "supper" show, then and there, that same day at Keith's Union Square—it cost me one-third of my week's salary, but neither that management nor any other manage- ment in America ever insisted on my doing three shows a day again. I saw by the action I had taken what could be accomplished by determination and willingness to sacrifice a little at the moment for the sake of improved future conditions. I then tried to carry out, single-handed, another much greater improvement in ex- isting conditions, and "splashed"—that is, I did not break my neck, but didn't land on my feet. So decided to seek some as- sistance and had a talk with another fellow from Bay City. He agreed with me that organization among artists was necessary. The principal reason was that managers were commencing to organize. A manager in Chicago (I omit name. He is to blame for enough already) arranged with another manager in St. Louis to book in conjunc- tior, ostensibly to give the artists more weeks, really to secure them cheaper, and keep them away from another manager Trho had a house in each city. Then I thought organization necessary; now I believe it imperative to the pro- gress and self-preservation of the profes- sion. And also imperative that the art- ists' organization keep abreast of mana- gerial organization. In America it has not done so. (I know nil about the vast territory to link-up, I know about the talent incubators in Wis- consin, Texas, etc., and I also know "where there is a will there is a way.") The march of progress, like time and tide, waits for no man. The men and species who are best capable of adapting them- selves to the altered conditions met at each step of evolution and progress are the ones who survive—and are the fittest to survive. This present stage of evolution is the stage in which combination is the domi- nant factor. This is the age of combina- tion, the individual must become a unit of a greater body if he is to survive. The greater body is good, bad or indifferent in exact ratio to the perfection of the in- dividual. As this argument pertains to vaudevilli artists the individual must, as .in individ- ual, mnke h'mself most proficient in his business, which, after all, is his principal value as a unit of the greater body, but must, when it comes to questions which affect the whole body, sink the individual interests into the greater interests of the greater body. Sink the lesser "I" into the greater "WE." In exact ratio as the artists of to-day, now, fail in this so will managerial combi- nation gain the balance of power, with which to crush the artist and make his calling not worth the while. For vested interest, while obeying the law of evolution and advancement, has always been short- sighted enough to eventually kill its goos* which laid the piden eggs, if not checked. There lies the artist's choice, organize, and organize well, or admit that you are not fitted to" survive. In considering whether or no organiza- tion is necessary among artists look tho question square in the face. Notice the number of acts arbitrarily cancelled, be- cause managers after a sort of medieyal brigands' war for plunder, agree to kiss and make up and kick half the artists con- tracted into the street. Look at the "black list," if the individual dares to resent the kicking-out process, and think: They can blacklist an individual, but they can't blacklist a body of thousands of individ- uals. Think what it is going to be when the present tangle is straightened out and the i)ower bought is misused. Then ask yourself. Is organization necessary? And I think you will agree with me that it is necessary, urgently, imperatively nec- essary. Not two organizations, or a dozen organizations, but one organization, com- prising all of you. During ten years in connection with or- ganization among artists, I have never yet failed to convince any artist, manager or agent, who has spoken with me on the subject, that organization among artists is not only advisable, but absolutely neces- sary to the welfare of the vaudeville pro- fession. Therefore I conclude that it is necessary and come to my reply to the question, "What are the best steps for artists' pro- tection?" And my answer is: GET TOGETHER. 0. C. Bartram, CHICAGO'S BUSINESS KEEPS UP. Chicago, March 6. Business at the burlesque houses has been very satisfactory, notwithstanding the general dullness in local theatricals and the unfavorable weather conditions. The Star and Garter last week again headed the list in paid admissions, the re- ceipts for the week ending Saturday total- ing a little more than $5,000. Al Reeves* "Beauty Show" was the attraction. "The High School Girls" played to $800 more on the week at the Folly than the house did the week previous, and is a close second to the Star and Garter in re- ceipts. Sid J. Euson's enjoyed liberal patronage with Charles Robinson's "Night Owls," and indications are that the North Clark Street burlesque house will break the sea- son's record with "The Behman Show" this week. The Empire has been drawing good sized crowds, and business in general holds up extremely well. MAKE CHICAGO THE CENTRE. Chicago, March 6. All the W^estem Burlesque Wheel shows will be organized and equipped in Chi- cago hereafter. John H. Whalen, of Louisville, is in the city now. ■ Acts and chorus people will be booked through the Western Vaudeville Associa- tion, and J. A. Sternad, of that agency, will have charge. .•...; The plan goes into operation this Spring, commencing with next season's bookings. ' \ . : It has not been said whether the head- quarters of the Western Wheel (Empire Circuit), now located in New York, will be removed here. SPARROW CASE A MISTRIAL. After being out all night the jury which has been hearing the Sparrow Company's conspiracy suit against a number of mem- bers of the old Travelling Managers' Ab« sociation in the United States Circuit Court here, reported Thursday morning that they had been unable to agree upon a verdict. ■ " '■■■'"'••■ ,■■' '■ ■■;•.'■-■;" The court thereupon declared a mis- trial and discharged the jury. It is not known whether there will be a retrial of the case. The Sparrow company de- manded $100,000 damages. The presence of John B. Stanchfield, as trial lawyer for the defense, delayed the beginning of the case against Raymond Hitchcock, for whom he is attorney. MUCH RIVALRY IN TORONTO. . Toronto, March 5. Merrily rages the competition for patro- nage between the rival burlesque houses in this city. The Gayety (Eastern) has two special nights weekly, Tuesday (Limerick) and Friday (amateur). Thomas R. Henry, the Gayety's manager, has recently added an amateur night (Thursday) for the chorus girls of the companies. It has been so successful that people were turned away. - Tb*» Star (.Western) besides its suc- cessful amateur night (Friday) presents a "battle royal" on roller skates on Thursday as extra bids for patronage. STOCK CHORUS A SUCCESS. A stock chorus of fourteen was put on to strengthen the shows playing the Bow- ery Theatre last week. A member of the Miner family said that the result of the experiment indicated that the extra girls would be a permanent institution in that house. The "High Jinks" company, play- ing a return engagement on the Bowery, scored a better week than it did on its first appearance, the improvement in business being attributed to the augmented chorus. Ed. T. and Tom W. Miner are spending several days of each week training the girls in the numbers given by the show which plays the Bowery next, and in ad- dition putting on two extra numbers in which only the stock chorus takes part. The girls were hired with a guarantee of four weeks' employment, their contracts for time after that being conditional upon the success of the scheme. The experiment is being tried in a number of other cities on the Western Burlesque Wheel, and it is said results justify the prediction that the stock chorus will be a fixture on the Empire Circuit. THE PLAYWRIGHT'S REVENGE. For years it has been a habit with Billy Lytell to submit manuscripts of burlesque shows he has written to John G. Jermon, of Philadelphia, accompanied by the request that he read them with a view to acceptance for production by his company on the Eastern Burlesque WheeL It has likewise been a habit with Jer- mon to accept these offered works of genius with a subdued sigh, go through the polite fiction of reading them and fiinally, after a decent interval, to return them to Lytell with the set speech, "It's immense, Billy. I enjoyed reading it, but it's too fine for burlesque. Why don't you have Shubert put it on? I'm sure it would be a go on Broadway. Bat you know the burlesque audience " In his early days Lytell was wont to submit his manuscripts jauntily, smooth* ly, hopefully. He would toss the bulky packages into Jermon's left and chirp, "Here, Jermon, look this over. I think you can use tUr." But the last fourteen burlettaa Lytell wrote he showed to Jer- mon as a matter of routine duty, dumping them into his hands and with a dark frown, grunting simply "Here." Jermon was sitting in the Columbia Amusement Company's offices a few days ago, when Lytell entered. Smiles wreathed his face and it was with a return of his old jauntiness that he approached the burlesque manager and held out a regu- lation manuscript package. "Read this," he said with his former enthusiastic hopefulness. "I'm sure I can interest you this time." On the way ba(?k to Philadelphia Jermon discovered that he had been served with a summons in a suit brought against him by Gus Hill to recover $2,400, claimed on one of Jermon's notes. Aspiring playwrights who want to bring their works before Jermon hereafter, must go to Chicago and read their manu- scripts to him over the long distance tele- phone. There will be no deviation from this rule. YOUNG DREW MARRIED. Cleveland, March 6. Frank Drew, manager of the Avenue, Detroit, was married this week to Lillian Deitz, of that city. Mr. Drew's father is of Campbell & Drew, the Western Wheel managers. "THE ZAZA BURLESQUERS." Chicago, March 6. Charles Robinson's "Night Owls" re- turned to the Trocadero this week, the second engagement within four weeks and the fourth consecutive week in CThicago. The show has been changed around ma- terially to serve the Trocadero clientele, and the organization is advertised as "Tho Zaza Burlesquers." From here the **Night Owls" goes to Detroit, skipping the Mil- waukee stand. STILL DOUBT OF MONTREAL. Despite all reports to the contrary, and regardless of the interview in a Montreal paper denying Variety's recent story that The Princess, Montreal, would prob- ably not play Eastern Wheel Burlesque, there was a statement made this week that The Princess would become a vaudeville theatre next season. The person making the statement further said the contract would be executed this week for the house.