Daily globe. [volume] (St. Paul, Minn.) 1878-1884, 1882-10-20
MONEY MADE FROM PLAYS.

ror.,,as Realized and Great Opportunities !
Passed by-Ausnors as Il Rule Not Pald
a., p.,oos +bev Deserye-W orlzing on the |
R.,aity rIan-How Plays are Made and
Unr,ade by Chance.
New York Mail and Express.1
Dramatic authors are beginning to loom
up in formid bile proportions, and the heio
BEL a large one, the number OF writer's
for the stage is very great. Every new
play which is a pronounced success, aoos
fresh fuel to the fame. Now,whlle there is
no branch of literature which pays the
pati ent toiler better for his labor than
writing plays, yet there is no other branch
in wa:ch so many failures are experienced. |
There are so many circumstances OF
trivial nature which may affect the pro-
duction of play that it is scarcely to be
wondered at that there are so many fail
ures. The whim of man ger, rainy
night" unfavorable criticisms, all AID IN
crushing the hopes of an aspiring dramatlst.
Many good play has never seen the light
of day, simply because some manager:
fresh from failure, has condemned II ana
thus aisheartened the author. Even man.
ages are not infallible, and large num-
be- OF plays which have pleased the taste
of managers have met a cruel death at the
ba,.ds of the critics. Then again audi
ence. are tickle: they Oftentimes kill q
plav by staying away from the theater-
anc let the play may be good one. Such
instances are not rare On the other hand,
many plays OF inferior quality have struck
soroe responsive chord in the breast Of the
public and have secured rich harvest to
the author.
'Does play writing pay?" is question
often asked. In order to arrive at some
definite conclusion a MoI and Express re-
porter sought Bronson Howard, whose dra-
matte productions are so well known. Mr..
Howard was busily engaged with David
Beiasco, stage manager of Madison Square
tbeater, arranging for the production OF
his lew comedy drama, ''Young Mrs. Win
throp," but found time to chat with the re-
porter. He said: 1.-The question is a very
broad one, and the range is very great.
The author who makes the most money
from his plays is TIE one who combines
acting with authorship. He then receives
pay as a star, and thus greatly increases
his cash account. Next to him comes the
author who writes plays and manages the
company playing his productions. It is
in this way that BARLEY Campbell has
made so much money. He is & very good
manager. Now. III ny case. management
wo..i lie my rain: ] hi:,e 10 ;.4e ii .,f.c5,
capacity IN that respect
Does not Il manager incur a risk in pro-
dUcing new play!" ''Yes, but there is
also "A risk incurred by the author, if he is
paid royalty. 1 am royalty author, so
to speak. There are three ways in which
an author may be paid for his production
so much money down for the play out
right, a royalty or a percentage of the
profits. A good percentage can often be
had, whereas the royalty may be small. In
the latter case, whether the manager makes
or loses money, he must pay the fixed roy
atty, but if percentage is paid on gross
receipts the manager will not entail so
great loss on himself if the play proves
unsuccessful
What royalty or percentage do you re-
ceive for your plays?" 'That is delicate
question. l prefer to tell you what I re-
ceive in England. Ny terms for Old Love
and New are five per cent. up to $50 on
gross receipts. If the amount is beyond
this | am to receive 10 per cent. up to e125,
and above that amount Is per cent. on the
gross receipts. Here in America it is very
difficult to arrange terms on the percent
age plan, managers preferring to pay a
stated royalty
"What amount do you receive in that
way?" ''The usual sum is $25 for each
representation. Years ago it was only SO
but Mr.. DAILY paid me $75 royalty for Sar
atoga in 1870. He paid this, too, without
any solicitation on my part, as I expected
to receive only so. He was the first N an.
ager to pay an author something like g
proper sum for his work."
Have you any objectiod to stating the
amount received for your latest play
Young Mrs. Winthrop" 81 dislike great
ly to speak of my private affairs, but pre-
sumo it will come out sooner or later, so
will tell you just how the matter is ar
ranged. The Madison Square theater man
-agement has taken all the risk in the.matter
They wanted new play land before the sub
ject was chosen they paid me $1,000, Iwrott
the play, choosing my own subject, ani
when it was accepted I received check fol
$1,000"
Then you received $4,000 for the play -
"Yes, thus far; but there is a contingency
1 am to receive more money, the limit
being $4,000, which is to be paid in in
staiIments every three months. In othe,
words receive $4,000 for every $50 nights
up to $4,000. The management of the
theater own the right to the play in the
United States, but I own the right fol
Great Britain. In my opinion success
full play ought to bring the author, in roy.
atty, from $4,000 to $4,000"
Having learned the views of Mr.. Howard
the reporter next called upon the veteran
author, actor and manager, Charles Foster
who has written hundreds of plays in his
time, none of which was ever dead fail
ure. On being asked whether play writing
was profitable Mr.. Foster ran his fingers
through his heavy white locks and replied
s'That depends, my boy, have been writ
ing plays all my life, and am not mil
Iionaire as yet. A great deal depends on
the public. If play happens to please
theater-goers the manager keeps it run
ming, and if the author has agreed to take
a royalty he may coin great deal OF
money from his creation"
WHAT amounts have you been paid fol
plays?" ''Various sums. For one re.
ceivei $4,000; Others $4,000, others $4,000
ana some 1 sold at $1,000, As to royalty
T !, l,o1 ~ L;r-b = 4,