The sun. [volume] (New York [N.Y.]) 1833-1916, 1897-09-19
NOT so MANY D%EADHEADS.
NEW FORK THEATRES NOT BUR-
DENED AS THOSE ABROAD.

rms nuulUCE VI INV
4. hy tho managers Of the Paris theatres was
mad, known there recently by a protest which
the managers sent to the municipal authorl-
ties against tho tax which they arc compelled
10 nav to the poor Of the city. This TAX is
levied on every ticket sold and 1t goes TO a tuhu
which is paid out TO the needy. Inc protest
sthted that in some theatres tho number OF
FREQ tickets amounted TO as many as wv d
night in some places and in others frequently
averaged from 200 to 300 a night. The man
ogcrs wanted the Government to make some
arrangement by which the burden OF the tax
could be put on tho dcadheads ana these 40
compelled to pay some nominal prlce-two
or three cents at the most-and Ray at least, FOR
tho privilege OF admission. the sum which
otherwise had 10 come out of the manager
profits.
Profits with an average Of 600. 800, or even
200 dcadhoads every night during IA week ought
70 be a very uncertain matter unless the theatre
cal business Is conducted on a unique system
in Europe. The Paris managers were eNl-
IDENTIFY bold enough to undertake a plan which
Nas. in n somewhat modified form. ttemptc
here several years ago. At that time 1t was
proposed that all persons who entered theatres
on passes should DO called upon to pay 10 cents
10 the Actors Fund. One or two managers
adopted the scheme, but it had one serious
drawback. The reports of tho contributions
10 the fund made It clear what the number of
deadhends ut every theatre had been. SO the
plan WINS soon abandoned by the few men who
took 1t up. Tho deadhead grows to be Il very
fastidious person after a WHILE, and even the
locent tax Is enough to make him sniff at the
privilege OF getting into n theatre.
The figures quoted from the Paris newspapers
show that the free ticket nuisance exists in
Paris to a much greater extent than 1t does in
this country. The New York manager who
let in 600 persons for nothing to one perform
ance would be very likely to look upon him.
self as a philanthropist. Indeed. the free list
system 10 not organized here In a way that
would make such a thing possible. To raise
600 deadheads in New York would take very
lively work for any man. There have un-
doubtedly been cases in which such an assem-
bly, would have been very much appreciated,
but It would be hard to collect 1t at short
notice. Even 200 would be looked upon as a
very largo number FOR an unsuccessful play
here. The number of outsiders who are in
terestedin seeing failures. for one reason or an
pther, and are able to get free seats. Is very
limited. The general public, or that part of 1t
which may be able to get into n theatre for
nothing, rarely cares much about the plays
that have not been popular successes. 1t is
for these pieces that he demand is naturally
greatest. The :dyed-in.the- wool dcadhead
turns up his nose at any performance for which
IncEC lb NV q iio Siuohu W."
as he feels that his presence may help the man.
ager and make things look a little more favor
able, nothing could drag him into the theatre.
Then he looks upon 1t as a condescension even
to accept tickets to give his friends.
It is entirely the success Of a play. however,
which determines the extent to which the dead
head gets in. When 200 free seats are distributed
in one night, there must be a mighty small
demand for them on the part Of the public and
.,roat Aaasra n n fha mart IF rho maj apar tn
make his performance look like ago. One play
acted here last season was a failure, but it hap
pened to contain the names Of a number OF
well-known actors. The. managers, for business
reasons, wanted to give the piece the appear
ence Of O success. So 1t ran for several months
to largo audiences and the most expert dead
heads were almost deceived by the prosperous
appearance of things. The houses looked SO
large that they consented.to accept tickets. al
though they were suspicious.
To the successful plays only those persons
who have the right to DO there are admitted
free. The regular free list of the ordinary New
York theatre is not a large one and it is sub
ie eS'e q the uI MANAGE Sm. He may = let pi In as many len,;
persons AZ he wants to, but the number that he
Is. in a sense, Obliged to admit, IL small com;
London. In Paris there is no END Of politicians,
petty officials. writer's, actors. and ioungers
course. The same thing-barring the politi-
cians-is true Of London, where the free lists,
many times as large as in New York. ' Here
there is a certain obligation to members OF the
whom the manager has professional relations.
There arc also the, actors who are always ad-
United as long as they arc known to the mana.
gers and the other managers who are admitted
always as a matter OF business courtesy; A
he desires, but unless they are OF a kind that
have been professionally associated with HIM
suited In the matter, Men whom he has known
as writer's about the theatres or men who have
privileg ed class and might be said to belong
with the legitimate deadheads. But personal
friends are not to be included in the deadhead
The actors IN a play are rarely able to be very
ance Of free tickets is small. the number they
rot depending wholly on their importance in the
give seats are not to be included in the regular
deadhead list Nor are the purchasers OF billboard
ness transaction which Is as asdvantageous "a
The manager as it is to the purchaser. These ad
e Sin ss , f Fhsrss Is some or p sssssss IN ms a%s i ina!
the individuals to wnom they are gwen. But
this p never regarded. The managers, know
ticket, industry l. now a well.establishcd on,
that fourishes all oyer the city. SO the MAJ
deadhead than a man who pays for "A box
The manager sells the tickets for tho priv
4ege o1 displaying MS advertisements rattic
man for money. IN no greater sense Is a maj
Q deadhead who writes for newspapers abou
the theatres.
Just who Is and who Is not a deadhcad OF
perfectly justifablc kind can best be Learned
from the makeup OF q first. night audience a
a firstclass theatre. 1t will be supposed tina
every condition is favorable. An unknown
author with unknown actors. appearing In
high-class theatre would be likely TO give frc
tickets to every well-known person who would
come to the performance. But the deadhead
in An audience ike that are not typical. In on
Of the best theatres there Is always a denant
for seats on a first night. The number OF dead
heads .of any kind will be small. About siXt.
seats go to the morning, and ey ming news
papers. Perhaps ten will be sent TO well-knowl
persons whose presence Is supposed to adj
lustre TO a first. night performance. possibly be
cause 1t is customary. Ont, OF six boxes prob
ably not moro than two will be paid for. Tn
author gets ono. the manager gets one. AM
friends OF one or the other are likely to occup
tho rest, Maybe two or three friends OF til
author or OF The TWO or three leading actors II
the piece, may have received free tickets. But
the number Is not likely 10 exceed 100 tickets
IL there Is no demRnd Tor lhcIn. II lha nctnrs ar