Morris tribune. [volume] (Morris, Minn.) 1880-2000, 1881-06-02
THE PLAYERS.
Method of Engaging Actors-Their Salarie.
Profits of the Stars.

Profits of the Stars.
New York Letter to Cincinnati Gazette.
The present season is now rapidly draw
ing to close, and the theatrical communi-
ty will soon be looking up new engage
ments. This calls our attention to the dra-
matte agencies, of which there are dozen
or more of note, besides many of lower
rank. Among the most important may be
mentioned Simonds & Brown, who have
had long experience. These offices do an
active business during june, July and Au-
gust, this beihgth the time managers are in
search of new attractions. Theatrical peo-
pie of various grades nay be thus de-
scribed: First are stars, then leading men,
leading ladies, light comedy gentlemen,
light comedy ladies, heavy gentlemen, heavy
ladies, first and second old men, first and
second old women, first and second come
dams, soubrettes, second chambe1maids.
first walking gentlemen, first walking ladies,
responsible and utility gentlemen, respon-
sible and utility ladies, children, stage
managers, prompters, scenic artists, prop
erty men, stage carpenters, leaders of Or
chestra, ballet masters, danseuses, coryphes,
ballet ladies', variety artists, vocalists, gym
nasts, and others.
Simonds & Brown have several hundred
names on their books answering to the
above descriptions. They negotiate en-
gagements not only here, but also abroad,
as they have correspondents in the princi-
pal cities of Europe. The dramatic agents
charge nothing for registration, but when
an engagement is made they receive fee,
both from the actor and manager. They
also take charge of manuscripts of original
plays, and if the latter be produced they
are well paid. They organize companies
for all parts of the world, and also take
charge of general theatrical details. Their
business is done chiefly outside of New
York, and their services are seldom used
by the city theaters; but they frequently
make ''out of town" or :"jobbing" engage
ments for New York actors who wish to
occupy vacant dates with transient bust
ness.
The salaries of actors vary according to
experience and talent. The pay of leading
performers outside New York ranges from
$50 to $3.50 week, while minor actors re-
ceive from SIS to $50. In New York
A good Dutch comedian, like Williams, or
George Knight, averages $780, Ballet girls
are paid 81 to So night. and of course
have their dresses from the theatrical
wardrobe. They are the poorest paid of all
theatrical attaches, and yet there is a con-
slant pressure for such employment.
Scene painters are for short time among
| the best paid theatrical people. sherwood,
formerly at Wallacks has $75 week, while
Roberts and Witham, of the Fifth Avenue,
get 500 week. Nat. Morgan, Voegtlia,
and Ieary are paid by contract, averaging
about 5000 complete set of scenes.
Stage managers average from $40 to $75
week, and business managers outside of
New York, are paid little better. Prompt
ers are rated at $25. The business mana
gers Of the New York theaters are well paid.
Tooker, formerly of Booth s got while there
800 week, and a percentage on the sale
of tickets; Stephen Fisk, formerly of the
Fifth avenue theater, had considerably ignore:
Theodore Moss, of Wallack's, is said to be
partner and 4. M. Palmer, OF the Union
Square is also a partner. Augustin DAILY
is said to have made large sum by writing
plays, but his failure as manager shows
how easy money can be lost. The history
of theatrical management, indeed. is q
strange record of failure, occasionally set off
by brilliant success, and the risk of the
drama are considered greater than almost
any business,
The salaries paid TO New York actors and
actresses are estimated as follows: Clara
Morris, when at the Union Square, had
5000 week, furnishing het owl dfesSes.
Fanny Davenport IL Said to have received
$3.50 q week last year at the Fifth Avenue
/ Theater, but It was more probable that her
pay was 81 900. Rose Etringe got $3.50 a
week at the Union Square; Ada Dyas had
$3.50; Kate Claxton had st7e, etc., btS.
These SALARIES seem large. but when one
considers how many ambitious girls are
broken down to make one good performer,
and how brief the range of popularity may
be, and also the expense Of sich life, It
is not 50 lerge after oil.
Salaries are paid for seasons of eight
months, and leading men who can COM
mand large houses have an annual benefit
in addition. John Broushat1 fsttsd ST. ,btO
by one benefit OF the Fifth avenue; Thorne
made $1,000 by benefit at the Union
Square. Some other princely benefits can
be mentioned, but o common benefit is q
poor affair. George Rignold during
his last engagement. Was paid
$3.50 per week. Sothern had one
half the house, after expenses, and Law
renee Barrett has the same terms. Edwin
Booth was the only American tragedian
who had half of the entire receipts, but
Fanny Davenport, as comedian, has
claimed in q few instances at least the same
enormous fee. Booth, while itineratinp
through the principal cities in America, re-
ceived $500 per night, which was the largest
fee ever paid under the circumstances. He
will not, however, repeat that itineracy.
The late .. L. Davenport had from $500 to
vi 600. His place has never been filed,
and managers often sigh when they recall
the loss OF this once admirable performer.
Joe Jefferson has been paid as high as
$500 week, and his managers were said
to have made money by his engagement.
Charlotte Chushman was allowed half the
whole house. Such is the power Of the
star performers to force both managers and
] performers to bow to their dictates. Stars,
however, are very rare, and even this SO.
called fortunate class is not to be envied
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