The age-herald. [volume] (Birmingham, Ala.) 1897-1902, 1897-12-19

-2I The denuneiatory comments that are be-
ing bestowed on the Theatrical Trust by
the American press have made the tyran-
ny of the trust the most important topic
of the theatrical season. The English press
have taken the matter up 1t takes the
view that the theatrical trust indicates the
downfall of the drama in the new world
as an institution conservative of art. An
other side to the story put forth by London
representatives of the American managers
attribute this opposition to jealousy of
English promoters because of the inroads
which American attractions are making.
The theatrical trust, as is known, is COM
posed of theatrical spectators who operate
the bookings and control most of the prin-
cipal theatres in this country. 1t is made
up of a set of men whose sole object has
been, and is personal gain. 1t simply owns
the managers and actors who are power
less to work Independently of the trust.
1t is a monopoly of the first water. 1t has
practically forced actors from the stage.
1t has forced house managers to take what
is sent out by the trust or close their the
aires.
The South suffers more than any other
section from this trust. That plays are a
year or two old when they reach the south
is the fault of the trust. That the casts
are utterly inferior to the original ones,
the south must thank the trust.
Personal interest governs the trust. It
is hostile to the best interests of the stage
and actors.
The trust has become such power that
Richard Mansfield attributed his arrest in
Philadelphia the other day as a put-up
job by Nixon and Zimmerman who are
applying their energies to the combine.
Mr. Mansfield has been scorching the syn
dictate in his recent curtain speeches and
has declared to his audiences that he will
not play in any theatre controlled by the
trust after the present season.
The syndicate would not book Minnie
Maddern-Fiske account of tho. fight
that is being made against the trust by
her husband, Harrison Grey-Fiske, the
editor of the Dramatic Mirror. She has
been forced to play Independently of the
trust and In consequence is appearing
at low priced houses that are not con-
trolled by the monopoly.
The dramatic papers are sworn enemies
to the trust. They have been so since it
was first formed. There were indications
then that there would be combination
of theatres and attractions to fight it, but
the plans of the syndicate were too well
formulated. If an actor or a manager re-
bells they are blacklisted.
Such is the situation of the theatrical
trust as it stands today. 1t is crime
against the men and women who earn their
livelihood in the dramatic profession. 1t
is to be deplored that the drama has been
invaded by a tyranny, unrivalled in the
annals of the American stage.
Joseph Jefferson telegraphed the New
York World the other day that he regard
ed the trust as inimical to histrionic art,
but later on sent a second dispatch in
which he asked the privilege of occupying
a neutral position.
The World has this to say of Mr.. JEFF
ferson:
"Mr Jefferson's eminence as am actor
should have made him at once the leader
of a revolt that seeks to save art and res
cue artists from degrading servitude. 1t