The Providence news. (Providence [R.I.]) 1891-1906, 1898-12-02
why IT SUCCEEDS.
Continuous Performance Provides Fer
Varying Tastes.
Best Performers In Every Line, Even the
Legitimate Are 10 Be Seen In II.

How is IL tnat so many famous dra-
matte stars leave the legitimate for
| vaudeville?" asked gentleman, the
other day. who had just come out OF
keith's new theatre.
The question has been asked a great
many times since Mr.. Keith introduced
| Providence to the keith form of en-
tertainment;" ;"and IL IL but one of many
that grow out OF unfamiliarity with the
| remarkable progress that has been
| maue i'm This branch OF theatrical enter
| tainment since Mr.. Keith opened up
the new and popular field OF high class
| vaudeville
| In carrying out his policy OF present
| ing form of entertainment which,
while entirely different from that with
| which the people were familiar should
| be as meritorious, as artistic and as
| clean and refined as the very best TO be
| found In the so-called legitimate
| drama, IL was but natural that he
| should turn to that for material. At
| first, some OF those who were approach
| ed looked askance upon the proposition.
| for even the members of the profession
1 had not grasped his idea and had not
| realized the possibilities that lay I'm his
4 plan of creating a new field OF labor,
| and one which should be as far remov-
| ed from the so-called variety profess
son" as is Shakespearean drama from
| farce comedy.
| Firm In his own convictions, resolute
| in his purpose and confident that the
| best class of theatre-goers would quick
| ly appreciate and support his policy, he
| did not hesitate to offer what To some
seemed absurdly tempting inducements
to leading stars TO join him i'm the work
at hand; and. as actors are no more
| blind to the glitter OF the almighty dol
| lar than the average of mankind, these
temptations, accompanied by clear
statement of his purposes that won
| their confidence and sympathetic en-
| dorsement. accomplished their purpose.
One after another, in rapid succession
| some of the most famous Legitimate"
! stars forsook the travelling combina-
| tions and. either temporarily or perma-
| nently, entered the ranks Of high-class
vaudeville. The list is a long one; but
| some idea of its character may be
| gained from the mention of the names
| of Maurice Barrymore, Felix Morris,
Pauline Hall. Robert Mantell, Clara
Morris, John Il. Sullivan j. III.
stoddard. Rose Coghlan. Tim Muir
| ply. Robert Downing. Charles
| T. Ellis. Rose Eytinge. Cora Tanner,
Bert Coote, Charles Bowser. James
Horne. Robert Hilliard Barton Hill,
Remenyi, Van Bene, Isabelle Urqu-
hart. Henry r.. Dixey and Sig. Del
Puente, representing grand opera, COM
ic opera. farce comedy, melodrama,s So
ciety drama and romantic drama, and
others of equal renown as athletes and
gymnasts or other sight act" per-
formers in the leading circuses.
1t is not to be denied that peeuniary
considerations weighed heavily in the
balance to bring about this wonderful
change i'm dramatic entertainments; but
il is undoubtedly equally true that in
many cases "a sincere desire To aid Mr..
Keith in his praiseworthy design of es-
tablishing a new and lighter form of
entertainment which should command
and deserve the support of the best
people in the community was more or
less potent In this statement lies the
answer TO the question first quoted.
Few people have any adequate idea
OF the cost OF such an entertainment as
Mr.. Keith provides week after week in
each of his four theatres for precisely
the same grade of entertainment is
given in all and i'm the majority OF
cases performer is engaged to appear
i'm each house before he completes his
engagement with Mr.. Keith.
OF course, some acts" from their ma
ture. perhaps involving the use Of ex-
pensive and elaborate apparatus or
special scenery which must be carried
from city to city at the performers
own expense, command much higher
prices than Others of equal artistic
merit; and naturally those acts which
prove most popular with the public,
which seem 10 possess the greatest
drawing power" bring a higher price
in the open market than Others that,
sometimes even of greater artistic
merit. for one reason or another do not
campare favorably With them in these
respects. Then in theatrical affairs as
in-other walks OF life, there is often
much in a name; and the reputation of
a famous Legitimate" star has value
to be expressed lllars and cents.
The scale Of prices varies greatly an0
has a wide range; and il may be said
to range anywhere from S15 to $500 per
week, and in some instances IL has
touched even higher figures. When IL
is remembered that an ordinary Keith
program contains sixteen or more
acts" some idea may be gained of the
costliness Of this most popular form OF
entertainment-undo the most
popular yet devised for the amusement
and edifcation of a busy people-and
there are few travelling companies
the road, even those playing TO ad-
Vanced prices at the combination"
theatres that show "A weekly expens,
account as heavy as that OF these Keith |
entertainments
How Is IL possible profitaby 90 de-
this? is the natural question To follow
this statement: and the explanation is !
that under the continuous perform
ance" plan. with it's low prices people |
are coming and going all the time ana
the class of attractions offered is Of |
such exceptional strength. it's varied |
character appeals To SO many different |
and varying tastes that practically the |
whole community furnishes the inn
mense patronage. while the average |
dramatic attraction appeals only to
that portion of the community to the |
taste OF which II is specially adapted.
Those who are interested especially |
i'm strictly dramatic feature find |
something provided for them that is |
quite the equal Of anything Of the KIND |
To be seen i'm n combination" house |
Those who go To the theatre to be |
amused and to laugh are afforded an |
abundance Of what they seek Those |
TO whom feats Of skill and strength |
a..