Variety (February 1914)

VARIETY 17 CLEMARrS TALK. W. H. Clemart, directing genius of the Variety Artists' Federation of Great Britain, is wont to provide for each week's issue of The Performer, official organ of the allied music hall protective organizations in Great Brit- ain, a page of exceptionally interesting reading for men and women of the theatrical profession everywhere who give serious thought to the subject of organization as a means of improving the condition of the artist. Mr. Cle- mart, in his position of prominence with the V. A. F., an organization with which the White Rats Actors' Union of America is affiliated, has shown a deep interest in the affairs of Ameri- can artists who are members of the W. R. A. U., and many a White Rat returning from the other side has brought back stories which show him to be a man of exceptional ability, possessed of unusually fair and broad views. In The Performer of Jan. 22, Mr. Clemart writes of "The Actors' Feder- ation/' taking as a text an extract from the London Daily Sketch, cap- tioned: "Why not an Actors' Federa- tion," and discoursing in part, in this fashion: "The unhappy lot of the actor has loomed large in the limelight of late. It is a fact to be regretted that actors have no real protec- tive society similar to that of the music-hall artiste; namely, the Variety Artistes* Federation. In return for a subscription of six- pence a week this body affords to its members free legal advice, protection against bogus manag- ments, temporary loans, a substan- tial payment at death, and many other valuable benefits." Mr. Clemart calls attention to the fact that the artist in the so-called legi- timate branch of the profession, who is referred to in the Sketch as the "actor," as opposed to the music hall artists, has no need of an "Actors' Federation" but can secure all the pro- tection possible for him by allying himself with the Variety Artistes* Fed- eration, which a year or two ago voted to broaden its field of activities in order that it might provide protec- tion and help to entertainers in all branches of the profession. Originally the V. A. F. had to do with music hall artists exclusively. In discussing the subject in ques- tion the V. A. F. man lays great stress upon the fact that the Variety Artistes' Federation is a smoothly operating organization which has al- ready accomplished a great deal along the line which the legitimate actors might hope to accomplish in the event of their forming an "Actors' Federa- tion" and, moreover, is an organiza- tion of such numerical and financial strength at the present time that it could unquestionably do a great deal more for the "actor" than any new organization which might be estab- lished. Operating along the same lines, identical in their purposes, and enjoy- ing an affiliation with each other which has made the combination the most powerful organization of its class ever known, the White Rats and the V. A. F. have much in common. Mr. Cle- mart's article in The Performer a couple of weeks ago, moreover, calls attention to the fact that the V. A. F. and the W. R. A. U. are confronted with the same situation as regards the interests of the artist in the "legiti- mate" branch of the theatrical pro- fession. In Great Britain, it appears, there is an agitation more or less pro- nounced for the organization of a fed- eration of so-called legitimate actors to secure a fuller measure of protec- tion for men and women in this branch of the profession than they are receiv- ing at the present time. In the United States, within the past few months, such an organization has been effected although its activities up to the present time have been very limited. Eliminating such reference to the Variety Artistes' Federation as does not strictly apply to the situation here in this country, it is still possible to cull from Mr. Clemart's article some splendid arguments for the so-called legitimate actor's allying himself with the White Rats movement in this coun- engaged in entertaining theatre audi- ences, and is therefore eligible to be- come a V. A. F. We believe there are many ladies and gentlemen of the theatrical profession who are under the impression that to become a V. A. F. it is first necessary that they should qualify by performing in music halls. We wish to give to that belief an em- phatic denial. They are entitled to all the benefits the V. A. F. can give while still engaged on the legitimate stage, whether they ever set foot on the music hall stage or not. That is, of course, providing they are willing to pay for them." (Reading "W. R. A. U." for "V. A. F." in this paragraph, make Mr. Clemart's argument apply strictly to the situation in the United States.) "The actor or the actress who joins the Federation is neither making a speculation nor 'buying a pig in a poke.' They become part of a strongly established institution, the foundations of which are too firmly set to be easily shaken. They make a good investment (The matter on this page has been furnished VARIETY by the White Rats Actors* Union of America, and is vouched for by tliat organization. VARIETY, in Its editorial policy, is not responsible for it.) try. There never has been a time, of course, when the W. R. A. U. and all of its advantages were not available to artists in all branches of the pro- fession, the White Rats' requirement that a prospective member shall be a white male who has been engaged ex- clusively, for a year, in earning his livelihood by entertaining the public, being broad enough to cover every- thing. Here are some of the points which Mr. Cle^iart makes, the aster- isks indicating the elimination of such references to the V. A. F. which are not directly applicable to conditions dealing with the White Rats: "The lot of the actor undoubtedly will continue to be an unhappy one just as long as he refuses to see the value of organization. The Daily Sketch says it is a fact to be regretted that actors have no real protective society similar to the Variety Artistes' Fed- eration; and that is where the Daily Sketch is not quite correct—no doubt, unconsciously. Tht actor has a very real and live protective society at his fingers' ends, so to speak, it he will but join it; and the Daily Sketch may be slightly surprised to know that the name of the society in question is The Variety Artistes' Federation. In the early days the efforts of the Federa- tion were entirely confined to easing the troubles and woes of the music hall artist, but a year or two ago it was recognized that the actor was a 'man and a brother,' who had no one to fight his battles for him, and so it was decided that the V. A. F. door should be open to him, and that he be invited to wipe his feet on the door- mat inscribed 'Welcome.' That door is now the 'ever open door,' and the invitation to the actor is a standing * * * one "It is quite plain ai'd very simple. An actor, or an actress, is a performer which cannot fail to return them a satisfactory dividend. They are not participating in an experiment which may prove abortive, for the V. A. F. has already passed through the cruci- ble and has stood the test successfully. The actor and the actress have their grievances and want them remedied. Their grievances are very like those of the music-hall artiste—only more so. Then why not take a leaf out of the music-hall artiste's book? 'Get together,' is an excellent motto, and the Variety Artistes' Federation is will- ing and waiting to lend a helping hand. The machinery or organization is al- ready erected and running smoothly. All the actor and actress have to do is to come in and use it, and the time is now. There is no suggestion that theatrical members joining the Feder- ation should be looked upon as a 'side issue.' They are invited to become part and parcel of the organization. Once V. A. F.'s, all are equal, and we would like to see the theatrical pro- fession directly represented on the Executive Committee. With a reason- able number of theatrical members in the V. A. F., proportionately repre- sented on the Executive, there is no knowing how much could be done to advance the cause of the actor and ac- tress. A civilized form of contract might even become possible." (In con- sidering all these extracts it must be borne in mind that Mr. Clemart dis- tinguishes artistes in the so-called legi- timate branch of the profession l)y re- ferring to them as "actors or actresses" and "theatrical members.") Along this line it may be said that there have been unmistakable signs of constantly growing interest on the part of menihers of the so-called "legiti- mate" branch of the profession in the White Rats' movement during the past few months. The number of men and women engaged in the legitimate branch who enjoy membership in the W. R. A. U. is surprising and ^t every monthly meeting of the organization there seems to be a larger percentage of the "legits'* on hand for final voting and initiation. A retrospective view of what has been accomplished in this country by organizations of theatrical artists which aimed to be protective in their nature cannot but be convincing that any organization's greatest assets are numerical and financial strength and recognized standing. All of these as- sets can be developed in no other way than by conscientious effort stretch- ing over many years. That the White Rats have been in existence since 1900 and have been constantly engaged in meeting the managerial interests in the show business in the interest of their members is, perhaps, the principal reason that the W. R. A. U. enjoys the strength and standing which it has to- day. With such an organization at hand, ready and willing to aid any artist who wishes to take advantage of its benefits and so constituted that the serious thought and intelligent ef- fort of any individual within its ranks could effect any changes or reforms in the organization which could be esablished as necessary and helpful, there would seem to be but little need to divide the forces of the organised actor through the establishment of other organizations which would nec- essarily have to go through a long period of trials and testing before they could be recognized by either managers or actors as a class. Informal Cabaret and Dance To Be HeU by the WHITE RATS Saturday Evening, February 21»t, At the Club Home 227.229-231. W 46th St. NEW YORK The foIIowinK (-ommltteo Is in charge. Joe Mack, Chairman. Tom .Smith \Vm. Matthews Tony HiintiiiK Wilbur Held Harry Weston Charlie Barrett r.( rt Hyron John Ziininer Wyiin DouRlas Jack Bancroft Jack McChillan Wills DeVeaux Artluir Williams Howard Prcvost Koland Travcrs John Kenny Paris (Jreeii Frank Hollis Tiihby Ciarron John O'Boyle .1- ine Jiimny CJalla^licr Ira Kessner ij^. Jos W. .'^tandish, .Secretary.