The morning news. [volume] (Savannah, Ga.) 1887-1900, 1897-12-04
The Theatrical Trusf.

Play Actors and play-goers in all parts
Of the country are interested in a fight
which has been begun against what has
come to be known as the theatrical
trust" Certain influential publca tons
and certain leading actors and actresses
have joined hands In opposition to the
trust. and propose to see if, with the new
booking season, which begins in January,
the power Of the trust cannot be broken.
The probabilities are that an interesting
fight will be precipitated. 1t may be that
we shall see some of the leading actors
practically locked out of theaters, and
some of the leading theaters trying to
make a season without frst-class actors.
The play acting fraternity, however. seem
to hold good hand as the trust viii
probably not be able to get along without
the acting talent, hence If the actors
make a strong fight being backed by pub
lie sympathy as they are, the chances are
in favor of their winning.
The situation. briefly stated, is about
this: A few of the principal theatrical
managers in New York, Philadelphia and
one or two other of the great cities, have
theatrical business in the United States.
With but two or three exceptions, they
control the theaters of New York city
and the leading theaters of the other large
northern cities. They control also several
of the biggest and best Circuits" in the
eastern and middle states. They are the
booking agents for these theaters and
circuits. Having this great power they
are able to dictate terms. Only such at
fractions as submit to their terms are
permitted to play in their theaters or on
their circuits. Actors or companies which
they cannot control, they crush, by bar
ring them out from the profitable business.
Instances are mentioned in the dramatic
publications of actors of merit who have
been ruined because they declined to sub
nit to the dictation of the trust.
But not only actors feel the weight of
the trusts hand. Theaters which will
not comply with the rules and regulations
Of the trust, for the trusts benefit, are
not permitted to present certain attrac-
tons They cannot select the best in
dependently, but must take what they
can get. The trusts seem to be a rule
or ruin policy; whatever it cannot rule
it seeks to ruin. The effect is to be seen
In the south. Those theaters which do
not stand in" with the trust are forced
to present sometimes attractions of an
order of merit which they would not 9TH
erwise book. The trusts plan seems to
be to starve all opposition into submits
sion. Theaters, actors managers, bill
posters and all others connected with the
theatrical business must submit to the
trust, or get out.
1t is announced that strong defensive
movement has been inaugurated among
the actors Articles of association have
been prepared for a union to be known as
the Association for the Protection of the
American Stage. The association, it is
said, will start with the backing of a doZ
en- stars of the theatrical profession, who
will decline to play for the trust or in it's
houses. 1t is thought the union will grow
rapidly, with the assistance of the indie
pendent theaters, and that the power Of
the trust will be broken.