Variety (January 1920)

30 VARIETY i: Kg •;.<•. ■ & : m& • •'/■ i 3 ' m ■ Is I I e; FS' '■■■ , -' Q. And talked them out of $100. Nov. you «M at on* time you played on the Pantagea Circuit? ,~ A. Tea. Q. And you Interjected a tide remark, that you had bean trying; to forget It. Why la that? A. Well, three shows a day la very, very hard on me, a grind. Q. It la a grind? A. It la a grind, yea. Q. And three ahowa a day, I aaiume. In your Judgment, to almost too much for anyone of ordinary strength or enduranceT A. 'Well, It la too much on the present act that I am doing. If I waa going to do a three-a-day mason I would limit ay efforts so I would feel physically able to do It. By Mr. Goodman: Q. So you mind stating what you are doing; right newt A. My act consists of singing songi, talking, monologulng. dancing of the acrobatlo order, for laughing purposes only. I do not claim to be a dancer, you know; and It runs about 80 to SS minutes, sometimes 85. By Mr. Walsh: Q. That Is, If you did three acts a day or were compelled to do three acta a day, that you would not want to do In any event, you would have to cut the time you were to be on the stage? A. Tea; I would have to cut It for my own reasons, and also for the manager. A manager who' has three shows a day dose not want you to go on and be there halt or three-quarters of an hour. Tou would be doing the whole snow. Q. What would you say as to the public on that proposition? A. Well, perhaps the public would be kind enough to want a little more, but It would not be a good Idea. I could not stand it '» Q. In the Pantagea time waa It not the practice of the man. agera to ask you to cut the time of the act? A. I limited my act to a certain amount of time and then I showed the act and they, were satisfied, and I continued on the season that way. ' Q. How about these other acts that did four and five a day, would they cut the time of the act? A. I don't know. I know they complained very blttsry and they were tired out • Q. Tou heard a good deal of complaint as to their being tired? A. Yes. I remember one particular Instance on this Fourth of July in Seattle, I know some of the people had to do six shows. Q. Did they get paid for It? A. I do not know. I did not see their contracts. Q. Upon that subject, do you play Sundays and holidays? A. Tes. Q. Three shows on some holidays? A. Tea, I have played three shows on some holidays. - Q. Do yon get paid for that extra work? A. Tea, sir. Q. Has that been the universal custom? A. it baa been the custom for the last two or three years. Before then It was not the custom. Q. In what way are you paid for that extra, time? A. I am paid pro rata, one-fourteenth salary, constituting what the amount would be for one performance, giving four- teen performances In the week,, you divide your salary by four- teen and they give you that fourteenth extra. Q. That is, you get the fourteenth extra? A. Tea. Q. Tou say you have not seen the Keith contract? . A Oh, I do see some of them, but I very often play without having one. Q. The Keith contract has been introduced In evidence hers In the form that It is now In effect, and I Bad this language to it—- A. Is that this season's contract? Q. Tes. Mr. Goodman: I do not think that has been Introduced. Mr. Walsh: Not this particular pne. Mr. Goodman: I mean this season's. Mr. Walsh: Tou offered It yesterday, didn't you? Mr. Goodman: That was for Identification. . Mr. Walsh: Let me take this one, then. Q. I And this language In It: "Section 1. The artist promises to render and produce upon the terms and conditions hereinafter . contained a certain act or specialty with persona there in for weeks, at leaat twice each day, and not over four- teen times in each week, excepting one extra performance elec- tion night,. New Tear's Eve, or any other holiday' prformanee, If it occurs the week of this engagement" Well, now has that been the case— '• A. Well, I have not played any holidays this season. Q. But I mean In years gone by? « A. I told you with the exception of the last two or three years it has been the vogue. But now the last holiday I played I played at the Palace Theatre In Chicago, and I believe It waa an election night, I would not swear to that, but I believe it was, and I was paid for that extra performance. Q Did you have a special arrangement as to that? A. No, the question never arose. In fact, I did not pay any particular attention to It until they handed me my salary and it was In it. Q Referring again to this matter of the Pantagea circuit, were there other objections to the circuit except that you had to play more than two shows a day? A. Well, the' clientele la different. Q. In what respect? A. In a continuous performance of that kind, people con- tinually get up and walk out, and others come and take their seats, and you do not seem to be able to get their full attention. Q. Was there anything in the character of the theatres themselves which made the route objectionable to you? A. No, they were very agreeable and nice to me. Q. I do not mean the managers but— • A. I mean the crew, everybody around, the theatres and everybody. Q. Tou say you never belonged to any association of actors other than the N. V. A? A. No. Q. When did you join the N. V. A.? A. About two years ago, when it was first organised; I be- lieve It la that long. Q. What were the motives which prompted you to join the N. V. A.? A. I felt that a social understanding among the performers and the managers would be an advantage. Q. There was not any $ nought In your mind at any time that there should be an organization of people In your profes- sion for the mutual advantage of the performers themselves? A. I think It Is a mutual advantage for performers to all mingle and be brothers and sisters In spirit, you know, and all that Q. Of course, the contracts between an artist and managers are very largely a matter of bargain and sale? A. Tes. Q, And very often their Interests are' antagonistic? A. Tes. Q. Han It tvsr ecsnrred to you that It would be advantageous to the profession, and I assume you are Interested, of course, In the profession? A. I am. v.- ■ Q. That It would be advantageous to the profession to have an organisation that to a free agent so far that it has no rela- tions with the managers? A. Tea. Q. What to that? A. Yes. Q. I understand that the N. V. A. to an or g anisation In which the managers co-operat* with the artists? A. It to a, social order where they meet on an equal footing. Q. I wonder It I am correct in my assumption that In the membership of the N. V. A. there to an opportunity to cultivate the good will of the managers which there would not be In an organisation la which the managers were not In any Way con- nected or affiliated? Would you say that? A. No, I would not say that, because In an organisation where the managers are not affiliated with the actors, they would have no opportunity to meet on a social equality. An actor would have his club, and the manager, might never go Into it. Ton would never get a chance to meet the man and, talk to htm In any other way but a business way when you go to see him at his office. I believe In the social equality of the managers and actors. Q. seven though It sometimes does not exist? , A. Well, I think in this Instance It does. I, personally have found that It sloe*. Q. Of course, you could strengthen your relations with the managers by being a member of the N. V. A.? A. I do not know as I could strengthen them any. but per- haps I would have more opportunity to aes thorn, perhaps I would have co other opportunity to see them except In the office. Q. Of course, so far as you are concerned you never meet with any difficulty In that regard? A. No; and, of course, I would not discuss business in the club. Q. How long have you been with the N. V. AT A. Ever since It first organised, I should say about two years: I don't know whether that to the exact time, but I should say about two years. Q. How many times have you been there? A. Oh, I go there; I want there on the opening and Inspected the building and went through it entirely before it opened; I was there on the opening night, and I have been there sev- eral times since. Three Sundays ago I went up and had my dinner and got up and entertained a tittle and met all the Other performers. Q. And that wab the extent of your business there? A. I go there whenever I wish to and am to the neighborhood and go in and have my luncheon and And everything well appointed and comfortable. Q. Tou used to go to the White Rata Club also? A. I don't believe I was ever In the White Rats Club except once, may year* ago, down on Std street, when George Puller Golden was making an address to the actors. Q. What was ho addressing the actors en? A, He was telling them about their union of strength and so forth and so forth. This was a long, long time ago. <J. Did you agree with the principles which he waa enunciat- ing? A. Well. I don't believe I had the mental capacity to under- stand Mr. Golden. He was very flowery and very expressive, and I am afraid I didn't understand him, Personally, I ad- mired Mr. Golden tremendously. By Mr. Goodman: Q. Was Mr. Mount ford as flowery In his speeches as Mr. Golden waa? ■ A, I have never had the pleasure. By Mr. Walsh: Q, I would like to get your views upon the question as to whether or not there are not some causes In which the vaude- ville artist needs the advocacy, or any one in the theatrical profession, needa the • leadership of persons in the profession in the advocacy of their causes? A. Well, the only way that I have ever plead my cause is to. try and .keep myself up in my work, keep abreast of the times, give the public what It wants, and if the publlo wants you the managers have got to take you. Q. Sure. And you have been universally successful in that respect? A. I have been striving for that one point; it baa been my life. Q. But notwithstanding that, when the managers imposed a cut upon you. you felt you were obliged to take it? A. Well, either I would take it and play or leave It It was optional with me. There was nobody saying you have got to do It. It was up to me, and they said: "Do you wish to take It or don't you?" Q, But It was put up to you la such a way that you could either take It or quit? A. But nobody was really compelling me. If I waa not per- fectly satisfied to take the cut, nobody was Insisting upon it Q. But you had your alternative? A. I had my alternative, and I argued, and as you said, talked myself into a $100 a week. Q, What did you think about the advisability of the scheme of an organisation that was able to tell all the vaudeville artists In all the big time In the United States and vaudeville artists In many of the small-time theatres In the United Stores that on Saturday night they oould take a out, and If they did not take a cut they could quit? A. What was your question now? Q. What do you think of the advisability of such a scheme? Mr. Goodman: I object to the question as being founded wholly on speculation, and there Is nothing In the evidence that In any way suggests that all the vaudeville artists In the United States were ssked to take a cut without rhyme or reason. Mr. Walsh: Oh, I do not say It was without rhyme or reason. Mr. Goodman: I know, but there are certain conditions. I have not any objection to a hypothetical question if it contains the features welch have been introduced In evidence In this case, So far It has been shown that there was a reason tor the request —war conditions. Now, the question seems to go as Q. Let mo put It this wsy. then. There may be something in Mr. Goodman's objection. What do you think of the advis- ability of an organisation which, under such conditions ss existed In 1914 was in a position to say to all the vaudeville artists playing in all the big-time theatres In the United States and many artists playing a great deal of the small time In the United States, that upon the following Saturday night of the week in question they could either take a out In salary or quit? A. What do I think of an organisation Q. What do you think of the advisability of the exercise of such a power In the vaudeville industry? Mr. Goodman: I object to It upon the ground that It to In- competent, Irrelevant and Immaterial, and no sufficient evidence In this case to warrant the proposal of such a supposition. Mr. Walsh: What to that? Mr. Goodman: There to no evidence In the case to warrant such a supposition that there to an organisation of all the vaudeville interests, including big time and small time in the matter of business and salaries. Mr. Walsh: As I understand it, the testimony was this: That this cut in salary applied to all Keith Circuit and ,tns Orpheum Circuit; that It applied to all the small-time which booked in the Keith Clrcut— ' ■ Mr. Goodman: There la no such evidence in the record, absolutely none. Mr. Fltspatrlck on the witness stand-— Mr. Walsh: If I am wrong, I want to correct myself. . Mr. Goodman: I am trying to correct you. Mr. Fltspatrlck on the witness stand was being interrogated by you about a long article he published In VARIETY In which he alleged certain abuses and grievances of "the profession. He was giving his Judgment and bis views. He also spoke of a case of Madden and Fltspatrlck, where he was out on the road and his partner told him about a cut of salary in his act That to all ths evi- dence there Is about It. Mr. Walsh: My mind to running to this, Mr. Goodman, that Mr. Fogarty testified—the principal grievance of Mr. Fogarty waa this, aa I recall it, he teattfled down la the Government Building that there, had'been a general reduction In salaries. In 1814 of all artists booking out of the U. B. O., and that his principal grievance was that after conditions changed that these salaries were not raised. Mr. Goodman: And did not Mr. Fogarty testify that his salary was not cut, and that he Insisted that It should be cut? Mr. Walsh: If I recollect correctly his salary was cut 150. Mr, Goodman: No; Fogarty*s salary was not cut, and he said he was president of the White Rats and wanted to be treated the same ss the rest and Insisted upon the cut. Mr. Walsh: But I understand, however, he qualified it and said be had some personal negotiations with Mr. Albee. Mr. Goodman: That to right Mr. Walsh: In which Mr. Albee said, "Well, I will not cut your salary," and Fogarty said, "No, * am president of the White Rats Actors' Union, and it you are going to cut the salaries of actors throughout the United States, I must take my cut also." I think that was the testimony. Mr. Goodman: Somehlng to that effect but my objection goes to this, there is no proof of any effort of the United Booking Offices requiring the circuits to cut There was proof of Mr. Fltspatrlck Mr. Walsh: I understand Miss Carus baa already testified that there was a managers' meeting, and that It waa arranged, so she waa Informed, that there should be a general out of the artists throughout the country. Mr. Goodman: No; she said— The Witness: A general readjustment of salaries. Mr. Walsh: That was her language, a general readjustment of salaries. ) Mr. Goodman: But that to-the United Booking Offices, Mr. Walsh: Well, it you Insist upon the objection, I will not press it That to alt RE-DIRECT EXAMINATION. By Mr. Goodman: Q. Miss Carus, Mr. Walsh In questioning you said you nat- urally became well known through the reputation which you gained In the New York Theatre; when you went Into vaude- ville you found you were welt known and the publlo knew about your acting, and you had a reputation, and that gave you a great demand and gave you a certain entree into the booking offices and all that sort of thing. Wasn't It the mere fact that you had this ability that gave your act the demand, put you in demand with the managers? In other words, It you didn't have any ability and if you didn't have any reputation or didn't have a good vaudeville act, the vaudeville managers would not have wanted you? A No; they would not. Q. But you did have the goods, and they wanted your goods? A Tes, sir. Q. And Isn't It In your opinion the reason why there are a great number of actors unemployed In this country? A. I am afraid that la the fact Q, Tbat_ they haven't got the goods? A I am afraid so. Q Do you think It to a good thing for the vaudeville actor that there should be an organisation that would try to procure employment for these unemployed who were not meritorious. actors? ' A. No; I do not think that would be an advantage to the actor or to any one. Mr. Walsh: Of course, that answers Itself. Mr. Goodman: Your question really answered itself, Mr. Walsh; I mean the question you put to her. Mr. Walsh: It Is not the Interpretation of anybody that they want to shove down the throats of the managers any incompetent or inadequate actors. Q, Now, these Pantagea time that you played, what waa the price of admission to the Pantagea theatres? A I believe It to 10, 20, 80 and 50 at night, and I think 10, 80 and 80 in the afternoon, and IS or 25 or SO at night By Mr. Walsh: Q. That, I suppose, would be cents? " A Cents, certainly; not dollars. By Mr. Goodman: Q. Now, the large houses, that Is, the big time, what to the prloe of admission? ■' A. The admissions are up, $1 to $3 at the Palace, Including the war tax also. Q. Do you think the public would be cheated In Pantagea two shows a day and charged those audiences up to $1 for the show he gives In his theatres? A. At that time? The verbatim report oi the investigation be continued in next ueek't iiine of VARIETY.