Variety (March 1911)

VARIETY r i, SHORTER THEATRICAL RUNS BUT BIG GER PRO FITS TODAY Larger Playhouses Allow of a Quick But Greater Earn- ing Power. 44 Hazel Kirke" Twenty Years Ago Not a Winner Like "Mme. Sherry." The "get-rich-quick" principle seems to have been applied to the theatrical business in the past few years, as In everything else. This observation is especially pertinent just now, at the time of the withdrawal of "Madame Sherry" from its highly successful run at the New Amsterdam Theatre, which began August 30, 1910. Twenty-five years ago, a success of the dimensions registered by "Madame Sherry" would have run two or three years; but it would not probably have earned for its sponsors as much wealth as a six months' stay In New York in the present day, with the attendant reputation attaching to a successful run of that duration. A decade or more ago it required some little time before the metropoli- tan public became fully aware that a genuine hit was being presented. To- day a success is firmly fixed in less than twenty-four hours. The reasons are two-fold. Firstly, everybody who can secure accommodations attends a "first-night," promptly acquainting his fellow man with the merits or de- merits of the performance. More interest is now taken by the general public in things theatrical, and for this reason the daily news- papers, ever on the alert to give their readers the kind of news they most desire, devote considerable space to first-night criticisms, news of plays and players and the publication of photographs of stage people. Two other factors contribute largely to the universal Interest attaching to theatrical amusements in the metrop- olis, viz.: the traffic facilities not only in town but to and from suburban localities, and the enormous general advertising put forward by the amuse- ment purveyors. The trend of things in this branch of industry—or art if one so chooses to so designate it—Is to get it quick; and this consummation is materially facilitated by the large seating ca- pacity of the present day playhouses. Runs of a year or two were not un- common in the olden days for the rea- son that there were but a few theatres and none very large. Even the old Niblo's Garden, popularly supposed to be an enormous theatre, had a very shallow auditorium and its capacity receipts were between $900 and $1,000 a performance. The Academy of Music was at that time the only house of large propor- tions, with Wallack's at 13th street and Broadway, a poor second In com- parison. The smaller houses included the Olympic, just above Niblo's, the San Francisco Minstrels, Theatre Com- Ique, Union Square, Bijou. Pastor's on the Bowery, Thalia, Windsor, People's and Wood's Museum (where Daly's now is). Later came the old Ly- ceum and Madison Square theatres, both small. Before the inauguration of sensa- tional booming of theatrical present- ments, "The Black Crook" ran for three seasons; "Humpty Dumpty" (with George L. Fox) for a similar period; "Evangeline" two years; "Adonis" two years, and in the same class may be mentioned the successes of "East Lynne," "Uncle Tom's Cabin," "Two Orphans," "Led Astray" and "Hazel Kirke." All these lengthy runs occurred at small theatres. The music halls of the prevailing period like Tony Pastor's on 14th street and old Koster & Bial's on 23d street were enabled to hire artists for an indefi- nite period, due solely to limited ac- commodations. When Koster ft Bial essayed the same policy at the original (and big) Manhattan Opera House on 34th street, they discovered their big- gest hits petered out in from four to eight weeks. One of the oldest of the active the- atrical managers of present times, in discussing the comparative runs of to- day and those of twenty or twenty- five years ago, said: "The two year run of 'Hazel Kirke' at the Madison Square theatre was so unusual that the play's New York suc- cess was talk throughout the country. Seat the audiences that have attend- ed 'Madame Sherry' at the New Am- sterdam since last August (New Am- sterdam having the largest of the ca- pacities of all Broadway houses) in an auditorium of the bandbox dimen- sions of the old Madison Square, and it would be three years anyway before all would be accommodated and this, with the theatre open every week in the year." "The Old Homestead," at the Acad- emy, is an instance that offers nega- tive opposition to the proposal that the long runs of former days were due to small capacities. "The Old Home- stead" occupied the stage of the Academy three consecutive seasons. The seasons were short, but the actual number of performances played at the house before the piece was finally withdrawn, equalled the records, even in the matter of folks who passed the gates, of any of the most sensational of present day successes. Bmt in the days of "The Old Home- stead" there was not the vicious op- position of counter attractions cur- rent now. Not a single of the bakers' dozen of playhouses encircling the purlieus of Long Acre Square was then in existence. Now a play of draught equal to that of the "Home- stead" might run a season at the very farthest, for beside and around it, week after week, would be found the big drawing musical and other pieces that now go to make up New York's Broadway playfare. Tt would have more real competition in a week to- day than It had to fight in a season in the old days. "Be© Hur's" run at the Broadway fairly illustrates this point. It exhausted its following in a season in a theatre of large capacity. A perusal of the contemporaneous hits, or those registered in the past two or three years, that were enabled to run for a really prolonged period, were all placed in the smaller the- atres. These include the Belasco pro- ductions, "The Gamblers," "The Witching Hour," "The Passing of the Third Floor Back," "The Climax," "The Lottery Man," John Drew in "Smith," "Walllngford," "The Nest Egg," "The Battle," "Arsene Lupin," etc. Back a few years were the long runs of the Hoyt pieces, all in small play- houses—in fact there doesn't seem any question but what such hits as "The Merry Widow," "Madame X" and "Madame Sherry," if presented in smaller theatres, would have prolong- ed their metropolitan runs by years. On the other hand the proposition is presented: Didn't these pieces, with the aid of the enormous seating ca- pacities now prevailing, make more money in a shorter space of time, than they could have done with a longer run in a smaller playhouse? That, the showmen say, is a simple proposition, since with the ending of a comparatively short New York en- gagement, the gained time may be spent by the show in new fields to re- ceipts proportionate to the Metropoli- tan success. STAIR TO RETIRE. (Continued from page 3.) able, non-sensational man could wish for. I control three of the dally pa- pers there, a large printing plant and other enterprises that will give me enough to occupy me whenever I care to apply myself. If I had all Rocke- feller's wealth I don't believe I should live on a different scale." Those who know Mr. Stair will un- derstand that having come to such a decision it would be no easy task to induce him to change his plans. HOSE COGHLAN NEXT SEASON. The New Theatre company now has Rose Coghlan under contract, calling for her services the remainder of this season. With the commencement of next season Miss Coghlan will retake to vaudeville, tn two scenes from "The Merry Wives of Windsor," consuming twenty-five minutes. For support Miss Coghlan will have Gertrude Coghlan, Billy Beech and a company of eight. M. S. Bentham is settling upon a route. A DANCER'S ASPIRATIONS. Ruth St. Denis, the interpreter of Oriental dances, has dramatic aspira- tions. With the assistance of her manager, Henry B. Harris, she is cast- ing about for a serious play and when a suitable vehicle has been discovered, she will blossom forth as a legitimate actress. MISS ARRANEIJAS VACATION. Una Arbanell was missing from the title role of "Madam Sherry" Mon- day night. Marion Mills singing and dancing the part. It is understood that Miss Arbanell will take a two weeks' rest. CHANGE IN MET. CO. ROUTE. Arrangements for the spring tour of the Metropolitan Opera Company have been arranged. There has been somewhat of a change in the itinerary from other seasons. The tour begins at Montreal where four performances will be given, commencing April 17, two days after the close of the regular season in New York. From Canada, the company will go to Cleveland where four shows will be given and thence to Cincinnati where four more are scheduled. The only southern city on the route is Atlanta and then the company jumps back to New York, most of the singers leav- ing immediately for Europe where they have engagements. Pittsburg, Columbus, St. Louis, Kan- sas City, Chicago, Louisville, Boston and Baltimore are lopped off the Met- ropolitan list this year. It is known that previous stops at most of these places proved disastrous financially. HIP ROAD SHOW CLOSING. The New York Hippodrome Road Show, which started at Philadelphia some time ago, closes this Saturday night. It was an expensive troupe. Marceline, under contract to the Shuberts, returns to the Hippodrome. New York, Monday. The thirty-four Lilliputians who have been out on the road with the "Hip" company may And a place in vaudeville. M. S. Ben- them is seeking dates for the crowd of little ones. LAWRENCE JOHNSTON The above Is a photo of LAWRENCE JOHNSTON, the western ventriloquist. In his most natural pose. EI>I)IE FOY CLOSES. Albany, N. Y., March 1. The "Up and Down Broadway" company of which Eddie Foy and Emma Carus were the joint stars un- der the management of the Shuberts clQsed here Saturday night. Mr. Foy may make an immediate return to vaudeville. His variety agent, M. S. Bentham, was out for dates this week. Another "blacklisted act" in the same show, Emma Carus, is reported about to return to vaudeville, and has also been rumored as having offered to wager that she would appear at one of the Percy G. Williams' houses in New York not later than March 13. Coming Boon! 81% KUW9BUTH BISTERS.