Variety (January 1953)

* 272 LEGITIMATE - Forty-ieventh Vfc&TETr Annivermry Wednesday, January 7, 1953 Death Knell to Barn Star System Seen in New Actors Equity Rulings By HERB KNEETER (Mgr., Norwich, Conn., Summer Theatre ) There’s Hope Again as Duffy Returns To Upbeat Beat-Up Legit on Coast Members of Actors Equity Assn., becoming alarmed at a serious un- employment situation, voted in October, 1947, the formation of an Economic Betterment Committee to study causes and possible solu- tion for unemployment. In Decem- ber, 1947, this committee adopted a. resolution to encourage confabs among the trade to stimulate ac- tivity in the theatre. Immediately after, summer thea- tre managers, who already had been joined together into a loose- ly-knit organization called the Summer Stock Managers Assn., met to discuss means to counteract diminishing attendance and losses in revenue. The majority of the managers, themselves Equity mem- bers, were aware of the union’s resolution and manifestation of co- operation. Stock managers began to formu- late plans for summer theatre’s ex- pansion in 1948. The managers be- gan by trading shortcuts in oper- ating expenditures, curtailment and policing of unfair employment practices as well as the ethics of deals between managers. By the start of the 1948 season, with vari- ous economies effected and the in- terest of new capital invested in summer theatres, 112 theatres com- pleted a full season, at least an increase of six over 1947. In 1947 there were 12 summer theatres operating under a policy of what today is called the star theatre. In checking their past at- tendance records, these managers realized that their attendance fluc- tuated according to the importance of the star, but what was the most astonishing discovery, the bigger the star the less chance for an operating loss for the week. In 1948, there were 16 theatres using stars every week of their operating season. In order to standardize pro- ductions, these theatres began to tour the star with an advance di- rector, plus in some instances one, two or three supporting atcors. In some cases the managers pro-rated the initial rehearsal expenses as well as costumes, properties and transportation expenses. This was the real beginning of today’s or- ganized star system. 1 Dire Conditions In Equity’s first complete em- ployment report for 1948, they were still concerned with the dire economic condition of their mem- bers. They reported that one out of every two members’ average in- come was $760 for the year. For summer theatres, they reported 2,924 Equity members played at least one. week of stock; 32% were paid the minimum salary of $50 per week, and 112 summer thea- tres operated with a total of 11,929 weeks of employment for Equity members. What they failed to re- port was that these figures repre- sented an increase in the number of summer theatres operating and an increase in the number of weeks of employment over 1947. Each year between 1948 and 1953, Equity would appoint a stock committee, comprised of actors and administrative employers, to meet with managers and discuss stock conditions. These sessions would end in bitterness and dissatisfac- tion within the ranks of manage- ment. The Stock Managers Assn, would appoint a committee to at- tend these meetings and be refused recognition. Equity would only treat with them as individual managers. The Equity Stock Committee would present to council their recommendations for stock rules for acceptance, despite managers’ pleas for permission to appear be- fore council in order to present their objections. Managers pointed out that the increase in minimum salaries to $55, increase in rehear- sal salary to $30, the limitation of 30% non-equity members, the $5 local jobbing fees, were working hardships on the small stock thea- tres and would force them to turn into non-Equity theatres or sus- pend operation entirely. 1 Les s T heatres Operating | Now, the recent report for 1951 shows that there was 15% less theatres operating in stock that year than in 1950. What is not re- port, but is hidden in the figures, is that there were 17 less pon-star theatres, a minimum of 1,020 less weeks of employment for actors belonging to Equity. At least 102 members of Equity deprived of work in summer theatre. When next year’s Equity report is re- leased, it will show that there were at least another six less non-star theatres operating in 1952. As the managers have pointed out to Equity, the new rules im- posed no hardships on the star theatres. In 1951 the number of star theatres increased to 30 and in 1952 reached a total of 36. The additional ones were theatres that newly opened and were not for- merly operated as non-star thea- tres. What is most important, de- spite Equity’s actions in depriving 102 members of work by the clos- ing of the non-star theatres, the overall employment picture showed a decrease of only 2% over 1950, or 58 less weeks of employment. The 36 star theatres, comprising less than one-third of the existing summer theatres, employed fully half the Equity members working in summer theatre. Less than 8% of these actors worked for the min- imum salary. The star theatres employed an average of 10 Equity members per week. Nevertheless, Equity has just passed a ruling, against the over- whelming objections of the star theatre managers, making it man- datory for all stars to rehearse at least five days before each sum- mer theatre engagement. Who suf- fers? If this rule goes into effect there will be a drop of at least 25% in employment for Equity actors in star theatres. For if star theatres are forced to book packages, these units will be produced by middle- men, which will raise the costs to a high few theatres will be able to afford. To meet this situation, the theatres will demand small- cast plays. Besides, under a pack- age system the theatre will not have to carry a resident company of six actors. If the managers resist package shows, the number of stars avail- able will be greatly reduced. Therefore, many theatres would be without attractions and have to curtail their season or close, entire- ly. The advantages for the star system far outnumber its disad- vantages. Equity’s own reports show that the star provides more employment at larger salaries for union members in summer theatre. It is five years since the resolu- tion of December, 1947. Equity’s economic condition is no different today than it was when employ- ment conditions dictated the state- ment of the Economic Betterment Committee. It is time the union sat down with its members who are managers and take the benefit of their advice and experience. A Former B’way Jove Looks Back 25 Years By HARRY FENDER St. Louis. The whole picture of show busi- ness has changed. I’ve seen it change in the 25 years since I was a Broadway juvenile. Twenty-five years ago a good mu- sical comedy juvenile had plenty of work. Since there were more musical comedies than good juven- iles, he could usually write his own ticket with any manager. It wasn’t too hard to get a 42-we'ek play-or- pay contract, especially with an agent like Max Hart. A $1,500 salary wasn’t unusual in the ’20s— practically tax-free, too. The real matinee idols of that period were fellows like Irving Fisher, who was in “Sally,” John Steele, of the “Follies,” Dennis King of “The Vagabond King,” Guy Robertson, J. Harold Murray and a few more. This was the era before pix, radio and TV made every overnight singer a house- hold word. In my day it took a little longer to make a dent; but once you made it you didn’t fall by the wayside so fast. Just the same, the musicomedy juves, circa 1925, didn’t differ from today’s leading man a bit except in outward appearance which had more to do with fashions prevail- ing at that time than taste. A good-looking guy who can sing, dance and act like a human being is still mighty hard to find. Every musical producer knows that cast- ing his leading love interest is still the top problem. Despite a lot of publicity about champagne and all that hokum, most, of the leading juves of the ’20s lived like country squires and commuted from Broadway to Great Neck nightly. J Less Demand Today | With fewer Broadway produc- tions and a dwindling number of legit theatres, there isn’t the great demand for juves today in musical shows. A good one can get all the work he wants in television and films. It takes a theatre to develop a good juvenile—real theatre. Be- cause a good looking guy can put a song over in front of a micro- phone doesn’t mean he’ll click as a musical comedy juve. The Messrs. King, Robertson and Fisher didn’t need a mechanical gadget to put them over with the public because they not only could sing but act. While I have no regrets, I must confess that my retirement from Broadway in the late ’20s probably altered the course of my life. Per- haps I quit a little too soon. Flo Ziegfeld offered me a part in a new musical, but I had made up my mind; I was going on a long trip, and nothing would sway me. The part I turned down was Rave- hal, the lead in a new show called “Show Boat.” Los Angeles. In a town where half the popu- lation finds relaxation in complain- ing that the other half is ruining the place, unanimity of opinion is as rare as the Yuletide spirit in mid-July. The only accord in re- cent years has been the reluctant agreement among theatre veter- ans that legit was not long for this town. This year, they’re not quite so certain. On the basis of the usual com- pilation of statistics, the gloom should be deeper this year than at any time in the last decade. The town’s gross for the annual Labor Day-to-Labor Day season plum- meted again to hit $1,828,366—less than half of the 1947-48 total of t $3,704,720 which had cued exces- sive bursts of optimism. And the 1951-52 season was studded with a list of fiascos—beginning with the “My L, A.” debacle last December —that appeared to be hastening what appeared to be the inevitable end of professional theatre in these parts. Cueing the new and still faint glimmers of hope is the record of the first 18 weeks of the 1952-53 season. It’s not just that business is better in the few houses alight; it’s the awakening of a new inter- est in the legitimate theatre, sparked by the return to produc- tion of Henry (Terry) Duffy, long an almost legendary legit figure in these parts. Duffy came back to town in Sep- tember, opened a long-dark neigh- borhood film house for legit opera- tions at “sensible” prices ($2.40 top,) and has proceeded to go out and sell legit all over this area. He’s currently in the 14th week of his first production, “Affairs of State,” and the indications are that it has at least another three weeks to go before making way for a new show. The importance of Duffy’s opera- tion is the shot in the arm it has given legit generally. He has far exceeded the usual advertising budget and the results have been immediately apparent—not only in terms of customer response but in an obvious renewal of local inter- est in professional theatre. Duffy has also launched an early curtain on Monday nights which has cued further interest and has started a “legit on credit” plan, with month- ly statements to patrons who order tickets via the credit cards he has issued. These exploitation factors and Duffy’s obvious determination to stick it out are the most hearten- l ing signs local legit has had in years. At the moment, he’s just about breaking even on a week-to- week operational basis. But he’s creating a new legit audience for winning back an old audience that hasn’t bothered with local legit for years) and appears to have created with “State” the sort of following that will insure increasing success in the year to come. The old axiom that a good show helps other shows in town is being dusted off and reiterated as a re- sult, of Duffy’s activities—and the figures seem to indicate that it’s true. The town’s total for the fifst 18 weeks hit $790,000, as against $529,300 for the corresponding period a year ago. Duffy’s share of this 18-week tally is $178,000. so that even discounting his own busi- ness the pace is roughly $80,000 ahead of last year. Significantly, as far as the old- timers are concerned, this business upsurge has been on a purely pro- fessional level. The fly-by-night promoters who have in the past used some of the town’s small- seaters for quickie productions have virtually vanished. One re- sult of this has been lengthy dark stretches at some of these houses —and the fact that the gross has jumped despite this darkness is re- garded as another healthy sign. The newest of the intimate legiters, the 400-seat Ivar, has been dark since last April when it blazed briefly for a fortnight after having been previously shuttered for bet- ter than four months. Similarly, the 400-seat Las Palmas was dark for long stretches during the year. J News Spreads Rapidly ( News of the town’s rejuvenation obviously has spread rapidly and there are indications that eastern producers are more willing to ven- ture a Los Angeles stand this year than they have in recent seasons. Thus far this year, the Biltmore, local UBO outlet, has been alight for 14 of the 18 weeks racked up on the calendar, as against eight last year. The Philharmonic Audi- torium has been open for eight weeks as against four and one-half last year. The upswing, however, is being observed with great caution. Local legit has been bitten by the bug of optimism before and current con- ditions aren’t going to cue any wild predictions that the town will assume a theatre status commen- surate with its population rating. It will probably be a year, it’s fig- ured, before there will be any def- inite indication whether legit has won a new lease on life in these parts or whether the surge of the last 18 weeks constituted a last despairing gasp. Meanwhile, at least, it has inter- rupted the boxqffice lament of the last few years. > KEITH ANDES Starring In “MAGGIE” Opening soort on Broadway f Pictures •Clash by Night,” RKO “Blackbeard the Pirate,” “Split Second,” RKO PENNY SINGLETON Currently, CHI CHI, Palm Springs A likely prospect for her former (musical comedy) field, in which there is urgent need for comediennes.”—Ted, VARIETY. “She looks more than ready for anything Broadway can dream up for her*”—WILL JONES, Minneapolis Morning Tribune. Represented by GENERAL ARTISTS CORPORATION Nev) York — Chicago — Beverly Hills — Cincinnati — Dallas — London