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

ror.unas Realized and Great Opportunities
p.ssad hy-Ausi,ors as Rule Not Paid |
tho Prices they Dcserve-WOrking on the
p,.., p,,.u-How Plays are Made and
Innade by Chance.
New York Mail and Express.
Dra,n.tic authors are beginning to loom
M in formid bile proportions, and the heio
bei..S large one, the number OF writers
for the stage is very great. Every new
play which is pronounced success, ados
fresh fuel to the fame. Now,whlle there is
no branch of literature which pays the
patient toiler better for his labor tnan
writing plays, yet there is no other branch
in wh: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 fali-
ures. The whim of a man ger, rainy
night" unfavorable criticisms, all ald IN
crushing the hopes of an aspiring dramatist.
Many good play has never seen the light
of day, simply because some manager,
fresh from failure, has condemned 1t ana
thus disheartened the author. Even man
aces are not infallibie, and large num-
Der OF plays which have pleased the taste
of managers have met cruel death at the
hands of the critics. Then again audi
ences are tickle; they oftenilrnes kill a
play by staying away from the theater-
alc yet the play may be a 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 a rich harvest to
the author.
"Does playwriting pay?" is a question
often asked. In order to arrive at some
definite conclusion Moit and Cypress 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
tbea!er, arranging for the production OF
his new comedy -drama, ''Young Mrs. Win
throp," but found time to chat with the re-
porter. He said: 'The question is a very
broad one, and the range is very great.
The author who makes the most money
from his plays is the one who combines
acting with authorship. He then receives
pay as star, and thus greatly increases
his cash account. Next to him comes the
author who writes plays and manages the
company playing his productions. 1t is
in this way that BARLEY Campbell has
made so much money. He is q very good
manager. Now, III ny case. management
.vt,.ii lie my rain: j hte -: t.4e iii .,h.c5.
capacity III that respect"
Does not Il manager incur a risk in pro-
ducing new play?" ''Yes, but there is
also risk incurred by the author, if he is
paid royalty. l am a 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 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 a 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,
ceiye for your plays?" ''That is delicate
question. I prefer to tell you what re.
ceive in England. My 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 $40
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 $40. He was the first 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
Iy to speak of my private affairs, but I 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
sagement has taken all the risk in the.matter
They wanted new play land before the sub
jsct was chosen they paid me $1,000, Iwrott
the play, choosing my own subject, ani
when 1t was accepted 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
stalIments every three months. In Other
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 own the right 70,
Great Britain. In my opinion success
full play ought to bring the author, in roy.
atty, from $1,000 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 hi;
time, none of which was ever dead fail
ure. On being asked whether lay-writine
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
lionaire as yet. A great deal depends OF
the public. If a 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.
ceived $4,000; Others $4,000, others $4,000
ana some sold at 1000, As to royalty
I have had pIays paw me as high as $3.50 2