Evening star. [volume] (Washington, D.C.) 1854-1972, 1895-10-11
GOOD TIMES FOR VARIETY ARTISTS

Change In Their Fortunes Caused by
the Continuous Performance Thentcrs
From the New York Sun.
Prior to the beginning Of the era Of farce
comedies in regular theaters the variety or
spe cialty houses were regarded as the chief
schools of acting. That is, clever young
man or woman found it nearly impossible
to secure employment in one of the regular
theaters with any Pre- spect of advance
ment. On the other hard. variety man
eyer either in New York or one Of the
reishboring cities would be willing to give
the newcomer what V as called a chance
the privilege of appearing without pay at
a performance. usually at a matinee on
Monday. The conditions of the arrange
ments were simple. The aspiring young
man or ambitious young woman would go
on, the expression is in the variety thea
ter. for turn. which means that he or
she would appear before the audience to
sing, dance, recite or give limitations, as
the case might be. If the audience re-
sarded the newcomer favorably and testi-
fled to it's approval by applause, then the
man or woman having left the stage would
come on again for a second turn. But if
the speciality or act of the tyro was un-
sd satisfactory or Objectionable, then the man
ager or stage manager would whistle, and
the scenes would be run together OF, as
variety people say, close in. Such was, in
fact, the ordeal through which nearly all
the persons now prominent in the variety
profession had to pass. If it was passed
successfully the newcomer was engaged for
the rest of the week. If not, the profess
SIGNAL career of the newcomer was re-
garded as at an end. Gree in the variety
profession, the popularity and compensa-
ton of the performer was dependent no,
Simply, on his or her clevernesS, agility or
accomplishments, but also on his or her
success in getting an act or speciality which
would present the ability of the performer
in q. favorable light.
When the era of burlesque and farce COM
edy began, there was no preparatory school
of training, and so the speciality or variety
stage was heavily drawn upon, and those
who had been seen before that time only in
the east side or west side theaters found
themselves appearing before admfr;ng
crowds III Broadway. For many years the
most popular speciality performers have
been engaged for the travelling companies
presenting farce comedians and light bur
lesques. and, to great extent the ranks
of the variety profession have been denud-
ed OF clever people, except in the line of
monologue performers, equilibrsts and
gymnasts. The man or woman who could
sing, dance or rec:te with ability has found
no difficulty in getting permanent employ
ment and is not obliged to depend upon
precarious and uncertain engagement in
variety theaters out of New York. with
but few weeks of steady work in the me
tropols. Since the continuous performance
theaters have become so popular and so
much of an element in the theatrical bust
ness of the country, they have been draw
ing back many Of those who left variety
theaters to go upon the regular stage, and
in the number of those they have attracted
are many former negro Ministries and bal
lad singers of the first class; SO that the
admirers Of speciality or variety entertain
ments may now again see the familiar and
welcome faces Of old favorites and the
farce comedy managers are obliged to look
for new material.