The record-union., 1897-06-27

theatrical failure is recorded and a cons
pany either left stranded far from home
or from some theatrical center where
they can obtain other employment,
and in this manner the profession re-
ceives a setback not easily overcome.
The "mashing' actor is another va
riety. who desires to use the stage as a
means of airing his wardrobe and MAX
| ing conquests and whose only ability
consists in his being able to ruin any
part for which he may be cast or casts
himself, who, if he possesses sufficient
funds. often acts as his own angel and
continues to do SO until no longer able
| to supply the sinews of war.
Another and more to be despised sort
of angel exists in the small capitalist,
who stands ready to close a contract
with some man or woman who has sud-
denly become notorious. Not infre-
quently it is with some person univer-
sally abhorrent to the public at large,
with the main idea that the notoriety
will attract large audiences if they are
advertised to appear and play part in
some we'll known drama or in some dra-
matte work describing the circum-
stances under which they became no
| toriouS.
They have been forced upon the public
by sensational newspapers until the
public is already sufficiently disgusted
with the sensational details. and, for
tunately for the credit of the stage. they
show their disapproval by remaining
away from the theater while these dra-
matte freaks are playing.
L. 1. ODD hO-
! ing opposed to the speculator pure and
/ simple who has, we will admit, for
his principal purpose the making OF
money out of theatrical entertain
ments l consider the speculator an
absolute necessity, particularly in this
| country, where art in any form is not
encouraged sufficiently to enable it to
| exist without the element of specula-
| ton.
| There is no reason why the conduct
| ing of the theatrical business should
! not be, in the main, governed by the
same general rules governing all legi-
| innate business. 1t is impossible to
! divest the theater of it's commercial
aspect. It is impossible 70 hire thea
ters, produce plays, provide proper
scenery, pay competent actors and
give the art loving public truly mer-
itorius entertainment without suffi-
cient amount of capital to insure the
/ carrying out of the production of any
play to a respectable, if not success
full, finish.
/ Is it not a mistake to criticise too
severely the speculating manager? Is
he really a curse instead of a benefit
to the theatrical profession? 1 per-
sonally am inclined to think that the
| speculator who allows himself to be
advised by those whose artistic train
! ing enables them to present plays as
they should be given and who is lib
| eral enough to properly cast and
mount plays is necessarily a benefit,
and that his connection with the pro-
fession gives the public a higher grade
| of entertainment than they would be
/ likely to get without him.
That the stage to-day is in far bet
ter condition than it was even five
years ago no one will deny. Are our
actresses and actors more clever than
in years gone by? 1 think not. Lib
eral management. brought about prin-
cipally by the speculator, has done
one thing to improve, during the last
ten years, dramatic art in this coun-
try.
l think it is not a matter of regret
that the old-time manager, whose Of
flee was in his hat and whose con-
tracts We're drawn and business trans
acted on a table in some beer saloon,
and who did or rather attempted to do
everything he heard of and could get
hold of, without being able or COM
petent to do it in such a way as to
command respect, has given way to
the more commercial man, too often
denounced as a speculator, who has
elaborate offices surrouded by every
thing necessary for successful con-
Quoting of business, who receives his
clients in business way during bust
ness hours and conducts his affairs in
very much the same way as the bank
ing, insurance and railway businesses
are conducted
! He has experts who know the coun-
try thoroughly. who plan for years
ahead, who book routes. arrange
transportation, do everything connect
ed with the business of conducting the
theater and travelling companies
and the judicious, dignified announcing
! and advertising of new play in such
manner as to command respect and
! in most case insure success
The theatrical trusts. syndicates.
/ combines, call them what you will.
must necessarily benefit the playwright.
the actor, scenic artist costumer and.
/ in fact, almost every one connected
directly or indirectly with the dramatic
profession, and undoubtedly the public.
! by giving them entertainments more
finished, more complete. more elabora te
and necessarily more artistic. instr,1c-
tive and enjoyable than they would
get in any other way.
Among the younger German con-
ductorS who are coming to the front
rapidly is Gustav Mailer the new con-
ductor of the Vienna Imperial Opera.
He made his debut with "Lohengrin -
and the crowded house overwhelmed
him with applause The "Neue Freie
Presse" had this to say on the oc-
casion:
Mahler is not merely a good tenn
peramentful 1--WE need the wordD mu-
sician, but also an excellent theatrical
conductor He possesses that some
thing which distinguishes a dramatic
from concert singer, an opera COM
poser from symphonist or lyric musi-
cian-theater blood. His interest does
not stop at the footlights, but goes
| beyond them with special zest.
1t vas obvious at once that Mailer
adopts the mobile. variable tempt which
| Wagner loved; he tolerates no drag
| ging, no caricaturing. Where the or
chestra is accompanying, he discreetly