Variety (March 1926)

VARIETY EDITORIAL Wednesday, March 10, 1926 7\KIETV Trade Mark roMUhrd We*klT T VABIETT. faw. Sim* bilvomian. PrMdrat U4 Weit 4ftb Strr»i N.w Tork Clt» SUBSCKII'TION: Annual 17 t-oratfn. ■Ingle capiat II It Canta Vol. LXXXII No. 4 15 YEARS AGO ( From and "Clipper") One of the best and most promi- nent actors in "The Butter and Egg Man" at the Longacre now is Rob- ert Middleman. His role is that of Joe Lehman, the hard boiled pro- moting agent, fifteen years ago Middleman, a Boston millionaire, announced hi* intention of going on the Stage and Variety ran a story of his announcement witli the headline: "Millionaire Thinks He Can Aet." Ho is a Harvard graduate. While In college he was president of the dramatic eluh and made his debut at the Castle Square, Boston, in "The Merchant of Venice." The business drawn to the New Amsterdam by "The Pink Lady- was so great through the year that Klaw and Erlanger, then partners, expected a profit of $200,000 on the season. The previous year had netted them $125,000. Al Woods secured the rights to M The Bad Girl of the Family," a melodramatic favorite in Kngland. . . . Performances of the Belasco production of "The Easiest Way" were forbidden in Boston by License Clerk Casey. . . . George Tyler, then of Lieblcr and Co., had leased the New (now Century) for a sea- son and was planning a production of "The Garden of Allah" for the large playhouse. . . . Fifteen years ago they were arresting ticket spec- ulators for working the sidewalks, and the papers then were going for the fact that each arrest was a "test" case. The erratic ways of Lulu Gluser bad brought New York managers to the point where they refused to handle her. . . . "Baby Mine" at the old Daly's was in Its 34th week, the champ of the shows then in town. ... A "Tom" show touring New Kngland consisted of five peo- ple and the one woman member of the troupe played all the feminine roles while Uncle Tom also played the parts of Simon Legree and Lawyer Marks. . . . Annie Oakley •was a feature of the touring Young Buffalo Bill Wild West. . . . AI and Fanny Steadmun were reviewed as a "new act" and set down by Himr aH "promising youngsters." Werba and Leuscher had just launched Nora Bayes and Jack Nor- worth In -Little Miss Fix-It." 50 YEARS AGO (From 'Clipper") The so-called ' personal contact" of the old-time manager Is best ex- plained in this quotation from Tony Pastor's advertisement in "Clipper": "... and will be on hand to welcome his legion of friends." Bartley Campbell, whose son, John Campbell, is a well known company manager along Broadway and the road, had written a story for "Clipper" sailed "The i'ride of Piute," to be published as a serial. A description commented that it was "clothed in chaste and beautiful language and has a pure, healthful moral underlying the whole work." Blackface coinediens, 50 years ago. called themselves Ethiopian Comics. . . . "Jo," a dramatization of Dickens' novel. "Bleak House," had been presented in Liverpool . . . Maurice Grau, th* impresario, re- turned from Europe wlh the -an- nouncement that ho had secured Jacques Offenbach, composer of "Tales of Hoffman," for the Cen- tennial Exposition. Maude Adams' Continued Modesty In • monthly magazine there la now running the autobiography of The title of the series Is The One I Knew Least of All." Mors astounding than anything else, Miss Adams has written the story of her life in the third person. Throughout theatrical circles there are a thousand stories of her retir- ing nature. Many anecdotes tell how she used to sit in the ante-room of the offices of Alf Hayman or Charles Frohman and always wait her turn for an interview with these managers, although she, as a star of first magnitude, might have brushed all others aside. But she waited her turn. When last sailing for Europe, she wore a tilack veil over her face to escape recognition. But now, definitely retired from the stage, that same And In her autobiography, there is no such word as "I. 8ome modern writers, columnists and critics, even actors, might take the hint. WHY NO CABARET "NAMES'? Suitable "names" and worth-while attractions for cabarets can write their own tickets Just now and will continue so to do, Judging from the shortage of material, for some time to come. Why such a shortage ex- ists is explained only by the peculiar requirements of cafe and night club entertainment. Right now, two Broadway cafes (Janssen's and the Frivolity) are In need of "names." This Is no secret and Variety Is not interfering with any cabaret agents because the latter themselves have been the ones to complain anent the shortage of suitable acts to submit. Take Blossom Seeley for example, a girl who keeps regular hours and wouldn't go in for cafe work for any consideration because of 'ts etrenu- ousness and late hours. This, despite the urgencies of agents who deem Miss Seeley a "natural" for the cabarets. That's one explanation. The limitations of certain styles of entertainment is another whyfore of this shortage. The very nature of a night club demands robust en- tertainment. That's why the wise night club manager will say, "Give me a good low-down shouter any time to the sweetest prima donna." There are exceptions of course; Yvette Rugel, at the Club Richman. A "name" must also be a draw. That's tough too, for a night club. As a class, for theatre-goers, a night place cannot be differentiated as burlesque, musical comedy, vaudeville, or picture house patrons. In a theatre, cold-sober, of course anything would do. But It's difficult to arrest attention from a tired brain or a besotted Individual. Both gen- erally go hand in hand. A night club is a place to while the hours away after the cares of the day are thrown off. "Pose Michel," after running about lu<) nights, w^s closing at the Union Square theatre, but E. L. Davenport at the Booth was con- tinuing the successful production of "Julius Caesar." which had gone to over DO performances. Only a trojsn can revive interest in the floor show under those con- ditions. The couvert chumps are too busy doing "straight" for the gal, or saturating the interior with alcohol. Th* dance music is another ex- cuse with the gal as the explanation. But the entertainers, why fret about that! Under those conditions, It is obvious that those who could, wouldn't work. Those who care to, are very few and far between. On the other hand if the cabaret is looked upon as another avenue for professional outlet, what price glory and environment? A night club has Its advantages of permanency, stability, elimination of traveling and opportunity to build up a genuine personal following. The direct con- tact makes it a personal proposition. The compensation for the likely talent, if "names," is also limited by the attraction's own drawing capa- bilities. A couvert percentage arrangement as is often accorded an im- portant attraction, in addition to the guarantee, is only bounded by capacity as to possibilities. One more instance of "name" values is the Harry Richman case. Rich- man was worth $350 at the old Wigwam Club, under the Earl Carroll theatre, since known, in turn, as the Rodeo. Murphy's Cellar and the Kit-Kat Korner. Richman drew 'em and his figure doubled. They squawked at $350 when Richman was untried but Richman wrote his own figures once he stiirted drawing. • The cabarets and their general prosperity and abundance of oppor- tunities, made possible by post-war conditions, are a demand market lack- ing In entertainment supply of high order. It would Vie worth while for artists to give the cabaret some special attention with a view to building up a night club draw and attracting the couvert charges. The couvert IS the keynote of the cabaret star. And there Is no uncertainty about it. No quibbling which "hcadllnei" drew the business, or whether the name Hammersteln or Gershwin or cast features attracted patronage because of the producer, composer or performers. In a cabaret, it's either the big attraction or not. Atmosphere counts for something, admittedly, but without the talent no amount of atmos- phere would draw them. DRAMA COURSES IN COLLEGES Has the Drama Course in a college nny real value? There are 20.000 Idle actors in the T. S. at present. At least they claim they are actors. Or have the colleges an opinion that With moving pictures offering allur- ing salaries, as far as any college faculty man ever heard, there is a goal for their drama courses? PICKING SPOTS FOR PADLOCKS Spot* In New York appear to be carefully selected for Governmental padlocks in Volstead violations. If a Federal agent can walk anywhere i n the mid-section without seeing a speak-easy or some other kind of a Joint selling liquor, that is equivalent to Baying he is near-sighted. But who cares for the speak-easles? Certainly not the doily ne Ws . papers. Yet the Hotel Brevoort is padlocked. A couple of dining rooms or so with this Joko padlock, a Joke to everybody excepting the owne r of the premises, often the only innocent party associated with liquor selling or possession upon the premises. And the only sufferer. The longer Prohibition endures the bigger Joke it grows to be. There's "bootlegging" of a sort right within Prohibition Itself. If it's not graft, it's publicity—Prohibition works many ways. Selling liquor has grown so common that some sellers of it believe it is unfair that one man should pay an entire check. They say the old system must come back, of buying "rounds" of drinks—and they »,re going to operate under that system. There's Prohibition for you! Bars in the mid-section, so many they are a matter of course; liquor sellers ordering tables out of their places as they don't what the customer to hang around too long; settling for drinks at the delivery of every "round" so that the cost shall he equally divided and customers remain longer. Prohibition! Liquor selling is so wide open in New York that in some sections no graft is being paid for "protection." How those sections have been over- looked of course no one around here is in a position to explain Into Variety's offlc. blew a young man who said CoIuinUa Ciuvoraitv. New York, contemplates a Drama Cohrse for its curriculum next term. That's fine, said a Variety reporter, and told the young man about the 2ti.(l(l0 Idle actors. The fellow from Columbia wanted some information, tie made plain that Columbia's contemplated course would not bo In the patUre of Little Theatre teaching, but more the "practical side" of the theatre. He did not know how a college professor would convey the practical side of the theatre to novices, nor did he stale that Columbia intended turning om managers only. Several of the universities have Journalistic courses but still many of the best reporters Were formerly office boys for the same newspapers. A Drama Course may include elocution, diction, poise and delivery. the Hotel Brevoort Is padlocked. INSIDE STUFF ON LEGIi Of the 44 non-musical attractions now on Broadway, there nrr* but If of the authors responsive for their writing who apparently hold con- tracts demanding that their name shall be carried in all advertisements. Either that, or there are but 10 authors considered to have enough box office draw to Justify the use of an extra line to carry their name. There are 11 attractions carrying names of the authors, but one attraction. "The Dybbuk," being played by two groups, which brings the list of authors down to 10. The writers so honored are Karel Capek ("Makropoluus Secret"), Anne Nichols ("Abie's Irish Rose"), Channlng Pollock ("The Knemy"), Augus- tus Thomas ("Still Waters"), Noel Coward ("Easy Virtue"), Eugene O'Neill ("Great God Brown"), S. Ansky ("The Dybbuk"). Henrik Ibsen ("Hedda Gabler"), Michael Arlen ("The Green Hat"), and Rachel Croth- ers ("Lady's Virtue"). The report that Wlnthrop Ames intends to follow his "lolanthe" pro- duction with a Gilbert and Sullivan repertoire is in error. Mr. Ames states he now contemplates but the single production. It is in "lolanthe" that the famous "nightmare song," with Its 186 lines of double patter, occurs. For any actor to memorize and deliver this song is in itself a prodigous feat. It Is not known, In all the history of Gilbert and Sullivan revivals, that a single one ever encored it by doing It again. It is always an impressive thing on an audience, but the usual gesture for the comedian handling the song is to feign titter fatigue and stop the enthusiasm In that way. Noble-P.yan-Llvy, Inc., new Independent production firm which pro- duced "Nirvana" at the Greenwich Village last week, planned to lease the Cherry Lane for the presentation. Robert Peel Noble Is a stage director, probably in little theatre circles. Mabel Ryan is a press agent. Livy is a lawyer. The Provincetown production group listed "When in Rome." to have been the the last of a program of five new plays this season. "Rome" is off until next season. Maxwell Anderson and I>aurence Stallings forgot to write the last act. Stallings is on a year's leave of absence from the New York Morning "World." He has gone to the const to write for picture productions. Acquaintances who passed up Daniel V. Arthur in recent years aro starting to pay attention. Dan noticed It as soon as news of his court victory over H. H. Frazee was printed, and the likelihood of Arthur securing half a million. The suit was based on Arthur's claim of 25 percent ownership in "No, No, Nanette." The musical farce was adapted from "My Lady Friends," one-fourth of which the courts definitely ruled several times belonged to Arthur, who took the original Emll Nltray play to Frazee and suggested it would make a good musical comedy. In script form it was called "Oh. James." Frank Mandell re- wrote the piece, Krazee deciding it should be done first as a farce comedy and later as a musical show. Arthur staged 'My Lady Friends," which had a long run at the Comedy, Frazee sending him a letter in which the 25 percent owner- ship was defined. As yet, Arthur got no money from Krazee, nor any statment. Frazee tried to kid Arthur out of the matter, hut Dan never could see It that way. A New York newspaper columnist is making the odds and ends con- tributing to his department pay him around $500 weekly, in- column is assuming a prcss-agenty aspect, according to those familiar with his "connections," the "eolyumist" having activities that range from pictures to night clubs. As press-agent for one cafe, the newspaperman is col- lecting much but Contributing little, another p. a. doing the actual detail with the "glory' as his sole recompense. A new column in last Sunday s "World's" dramatic section was credited to "Alexander Dudley Wells." The column has been concluded by Alison Smith, but Miss Smith was too busy assisting the music editor. The signature over the column was interpreted to mean Alexander Woollcott, Dudley Nichols and Wells Root. Frank Olllmore, executive secretary for Equity, will go abroad In .Inn.-, ccompanied by his daughter Margate, who is appearing In "The Greer) The principal object of the trip is to attend to wedding of another The latter has been studying In lt»t, and was r>- cently engaged to he married. Hat. daughter, Ruth Thai s not so bad and may put some of the phoney dramatic school" out of business. _ And even that won't alter the fact that there are 20.000 idle actors the country. Nor that Famous Players has opened a school over on Long island teach people how to act before the camera. F. P. knows its business 1 ' why Long Island—why not Hollywood?