Sacramento daily record-union. [volume] (Sacramento [Calif.]) 1875-1891, 1889-10-06
Music AND DRAMA.
SALARIES RECEIVED BY LEADING
COMEDIANS.
Public Taste May change and Legit.
innate Work MAJ BE De-
manded--Stage Notes.

One peculiar feature of thea trical lif
nowadays is that the leading man, who wa
the prominent figure in the professin n fiv
or six years ago, has taken second place il
public interest, and the comedian has COZ nj
to the front. 1t is, perhaps, the natura
and legitimate outgrowth of that phase Of
the drama which is now most prominent
Jack Haverly, who was one of the most
daring theatrical spectators of the age
struck the keynote when he said, "The
American people want to laugh, and are
willing to pay for something to laugh at. y
Although this knowledge of the desire Of
theater-goers did not keep Haverly from
becoming a bankrupt, other managers, more
fortunate, have profted by his advice. and
for five years the American public have
been kept in a continuous roar. The ad-
vance in this direction first became appar-
ent in the increased number of burlesoue
and comic opera companies. In these
everything was subordinated to the CO.
median. Music that he could not sing
was ruthlessly cut, and all that was re-
| quired of HIM was to be funny.
As opportunities increased the number
of comedians also grew apace, until they
outnumbered the other members of the
profession. The farce-eomedy craze in
augurated by the production of the Bunch
of Keys" tended to still further increase
the number of actors who wanted to take
the tide at its flood, and so be tioated TO
fame and fortune. The Hoyt farce comedy
successes, which followed closely on that
of the 'Bunch of Keys" required rough
| and tumble comedians, which the variety
and minstrel stages alone could supply.
To the farce-comedy some of our most
| popular comedians owe their successes
upon the legitimate stage. Charlie Reed,
James S. Powers, Eugene Garfield, Tim
| Murphy and many Others of the same
school were all introduced to our notice
through this medium.
AS long as the craze for uproarious farce
lasts, Just so long will comedians remain
in the ascendant. There are many opin-
ions among the theatrical people them
selves as to the length of its tenure, and as
the public are proverbially tickle the tide
may turn at any time. The advance in
the salaries has more than kept pace with
the growth and Importance of the come
dian. From the poorest paid member in
| his profession, the comedian has become
! the most literally rewarded A few years
ago, when Searle, Mantell and others of
! the same class drew salaries of from $3.50
to $3.50 week, it was thought that the
salary limit had been reached. The
/ lIar, bo hoe do
itan success would feel insulted if a like
amount were offered to him nowadays.
The salaries received by these players in
comparison with those of other actors,
seem enormous. A fairly good leading
man can be had from $75 to $125 a week.
A good comedian will demand twice that
amount. Wilson's salary at the Casino
was something like 5000 a week. The
management offered Fred. Leslie $500 per
week. Dixey received 10 per cent. of the
gross receipts during the run of "Adonis "
at the Bijou, and Louis Harrison seven per
cent. of the gross receipts of the Pearl of
Pekin," with guarantee of $3.50 per week.
De Wolf Hopper has very large salary,
and other comedians receive from $3.50 to
$500 week. Up to the present no mana
ger has overstepped Aronson's bid for
Fred Leslie, and it is doubtful whether
any higher salary will ever be offered to
any comedian.
Theatrical managers do not pay these
| salaries out of spirit of philanthropy.
| Nor are they fair indices even of the high
est reward of the best standard comedians.
John Gilbert never received over 5000 a
week in his life, and that was for " Job :"
work. The leading comedians of stock
companies of the first grade, such as James
Lewis, Stoddard, LeMoyne, and sterling
actors of their caliber, receive from Sl25
to $3.50. A man of the grade of Coquelin
| or of Boucicault would find it difficult to
prove to any stock company manager in
! the country that he was worth as much in
the company as Mr.. Hopper, Mr.. Dixey or
! Mr.. Wilson was worth to the same man in
a comic opera troupe. The burlesque COM
edian would be the more profitable at
twice the figures, almost That the sala-
ries are not the gauge of the artistic value
of mans work goes without saying.
Barney Fagan's weekly wages have reached
| as high as $500 week IN minstrel troupe,
| and Chicago man once paid James Owen
OConnor $500 for a single week of his
unique performances.
That this is the season for the high
salary to the comic opera comedian must
be obvious to students of contemporaneous
theatricals They are in touch with the
latest expression of popular favor. They
are what people pay to see. What their
actual value is, judged by artistic stand
ards, is a question; but their financial
status in the profession depends largely on
the duration of the comic opera craze.
The comedians themselves know the un-
| certainty of their tenure, and are con-
stantly watching for the indication of a
change. The result of Nat Goodwin's ex-
pertinent in "a Gold Mine" was very anx-
lously watched by other men of his class.
People will always laugh, and pay for
something to laugh at, but the question is,
How and at what? So Harrison takes out
his comedy. "The Noblest Roman of Them
AL" next year, in preference to earning
! $400 week in "The Pearl of Pekln," and
so Tom Seabrook, of "a Midnight Bell'
fame, is trying to secure new piece which
is not light farce-comedy. There is "big
money" in the theatrical business to the
manager and the actor who keeps his eyes
wide open for the first whisper of popular
wishes, without regard to whether those
WISHES dlS lduuduic VI uldLleWOTIuy-
STAGE NOTES.
Sadie Martinot is again in New York
resting"
A Texas celebrity earns his living by
eating needles in the presence of the pub
lie.
Kate Reynolds, now Mrs. Erving Wins
low, has opened school of acting in Bos-
ton.
Miss Rose Coghlan's present season is
said to be the most profitable she has ever
had
The latest query anent Mr.. William
Shakespeare is, Did his widow marry
again?
The McCaull Opera Company presents
"Clover" in Philadelphia for the first time
tomorrow night.
The Jefierson-Florence combination be-
gins its season October 14th in New York,
at the Star Theater.
Annie Pixley makes her first appearance
in New York this season tomorrow night,
at the Windsor Theater
Poor Tony Hart has had relapse, and
has again been returned to the Massachu-