The evening telegraph. [volume] (Philadelphia [Pa.]) 1864-1918, 1867-10-11
nuR THEATRICAL POPULATION.


the scones-SaIaries, Expenses Num-
hers and DistrIbutiOn-GOssip About
Rich Actors and dActresses-CuriOUsa and
Complete statistics.
FToga the ". Y. Herald
Although it may seem contradiction in
terms, vet it is nevertheless true that the
things most familiar are generally the things
Least known. and that wherever a general
acquaintance with a subject exists, there is to
he found but little reliable or accurate know
ledge These remarks are especially appli-
cable to that porti on of our population who
are engaged directly or indirectly in theatrical
pursuits. Actors and actresses are in every
body's mouth and in everybody's eyes; and
vet not one in fifty really understands their
life their business their pecuniary or hume
rical status, and the various points in refer
ence to them or their occupation which would
occur to a thoughtful mind.
GRADES.
One star difereth from another star in glory,
and the theatrical population of the metropolis
comprises seven ranks or grades (of which,
however, only four are professionally regarded
as strictly theatrical). The operate artists,
as receiving the highest compensaGOns and
catering for the most fashionable portion of
our citizens, occupy the first rank. Then
come the performers at the Broadway theatres;
then those at the theatres on the east side of
performers; next the circus performers; SIXTH
the corps de ballet; and, lastly, we have the
numerous scenic artists, carpenters, musicians
and other n-performing attaches of the vari-
GUS theatres. These grades are not always
definitely defined. Still they possess, to a
greater or less degree, a real existence. The
operate artists and their humber companions
in the minstrel walks of life, as we'll as the
circus troupes, are included in this enumera-
tion more for the sake of completeness than
exactness, for, as they are not technically con-
sidered "theatrical," they do not require to
be particularly noticed at present, but must
make room for more detailed description of
the remaining grades.
~ TECHNICAL DIvIsIoNs-wHAT IT TAKES TO oRGA-
NIzE A THEATRICAL COMPANY.
Few people outside of the profession have
any idea of the minute yet definite degree to
which division and subdivision are carried
among the members of theatrical company.
A glance at the organization of a Broadway
establishment will enable our readers to COM
prehend this point. The manager proprietor,
or lessee is generally the fgure-head, who re-
ceives the profits or Dears the losses; but the
power behind the throne, VINO does the re-
spOnslble work, is known as the business
manager. This gentleman makes the ENGAGE
meAts, attends to the finances directs the
printing and newspaper work. dimes and wines
the Bohemians when he thinks it worth while.
writes the playbills, controls the salaries, set
ties all disputes, and sometimes even casts the
pieces, though this latter function generally
aevolves on. the stage manager who also al
.euus and directs rehearsals notices of which
are always posted on an appropriate bulle-
tin behind the scenes. The chief mem
ber of the acting stock company IS
known as leading man; next in status is the
first old man; then ranks the first comedy;
then comes the eccentric, who enacts such parts
as "Dazzle," in London assurance; then follows
the first heavy man or villain; while after thus
unfortunate individual, who is obliged to sin
nightly for a trifing compensation, come in
their order the first walking gentleman, the
second old man, the second comedy, the
second walking gentleman, and those two
minor specimens of useful industry called the
general utility and utility. Having disposed
of the males, the female artists next demand
attention. In this department we find first
leading lady; then a first old woman; then
ranks the SoRbrette, the most saucy and piquant
of, roles; then come the second old woman, the
first and second walking ladies, and the second
SoubretteS, while the LISTS completed by the wo-
men of ''utility" In the third division are placed
the scantily -draped, light, and airy corps de
ballet and "the noble army of martyrs" thea
trically speaking, known as the supers, called
in Bowery parlance "supes." Next come the
''attach6s, " or non-performing members, en-
bracing the prompters; the call-boy, the scenic
artist, the paint grinder, master carpenter,
second hand, the "dat" men, "Wing'' men,
and "fy'' men $50 called from their respective
posts), the property man, who makes and has
charge of the accoutrements the property boy,
the stage cleaners, the gas man, the stage door
man (the Cerberus who guards the hallowed
entrance to the stage, and who is nightly beset
by applications for admission from the gay
youths Of the metropolis), the night watch
man, the day watchman, and the cOstumer,
dresser and assistants, who guard the ward
robes"
But the list is not yet complete. The or
chestra must not be forgotten, with its leader,
its repetiteur or second leader, and its musi-
q clans. Nor must the front of the house be
overlooked, with its treasurer, box book
keeper, doorkeepers, ushers, and officers.
Then come the bill-posters, ct i'd omne genus,
while the long catalogue is ended by a copy
ist, sometimes by a dramatist, specially en-
gagged for a certain theatre, and not unfre
quently by puff-writer attached to the esta
blishment, who 60 influences" the "press''
through the media of its ''independent'
''critics."
This enumeration will teach the uuinitiateC
that it requires both men and money to con
duct metropolitan theatre.
HOW AN ACTOR WORKS.
1t is homely but true saying, 'what il
one mans meat is another mans poison" anC
what is amusement to the audience is work L
the actors. The public associates theatrca
people with pleasant hours of recreation, or i
occasionally catches a glimpse of them cot
duty' in their ConviVial moments but tht