The times. [volume] (Washington [D.C.]) 1897-1901, 1900-11-18

Jumps" Thus, the syndicate was formed
as a colossal booking agency, owning or
controlling sixty or seventy theatres in
the larger cities of the United States.
By having a continuous chain of theatres
across the continent the syndicate is able
to cffer to managers systematic and
economical series of engagements.
MIR. Klaw contends that the trust is
success. because in the second year of
its career the receipts of the theatres
interested had almost doubled. That it
has helped every local manager who has
put his business into the hands Of the
syndicate is, apparently. shown by the fact
that all have voluntarily renewed their
contracts until 1906, though the present
contract does not expire before next Au-
gust. The trust is also able to boast,
with pardonable pride, that no company
on its circuit has ever been stranded, and
that the pay of actors has thus been made
more secure.y These and similar points
seem to show that the trust Is good
thing financially for those on the inside,
though it must be remembered that 1t has
never yet been tested with an era of hard
times among the people
Mrs Fiske is the only noted star who
continues to fight the syndicate, and her
Indictment of it is sweeping and f1rcetul.
Her main point is that the trust mana
gers never look at the stage except
through the box office window-that bust
ness is everything, and art nothing to
them. and that the standard Of thea;ri-
cal art is steadily being lowered. Under
syndicate control she says. ''yulgar.ty,
friyoiity, coarseness, and, above all, med
iocrity have fourished." She holds
that whenever any business method liner
feres with the art side of the theatre it
becomes a curse. She says that the
money making plans of the trust have
not been confined to saving the waste OF
useless railways journeys, but have been
centred on getting their plays more
cheaply and in producing them more
cheaply. The cheap plays are secured
by accepting these which have been tried
and have proved successful abroad, thus
discouraging American dramatic talent.
The cheap production is secured by en-
ploying many mediocre actors. THE syn
dictate syctem exploits the mediocre rath-
er than the artistic, because it can exact
from mediocrity a larger share of tine
profits
To the trusts claim that it does not
monopoliZe all the theatres, Mrs. Fiske
replies that there is no longer any incen-
tive for an Independent manager to dis
cover and develop good play, because,
even If it is successful in enc city he
controls nearly all the desirable theatres.
The trust itself will not exploit new plays
or new talent, yet it prevents others from
doing SO.
Whether the syndicate system will ulti-
mately work out the degradation of the
American stage, as Mrs. Fiske claims it
will, and cause the downfall of the trust
ITSELF is a question which the public is
apparently willing events should solve. AS
the syndicate is equally willing to confde
in the future. it appears to be another OF
these cases in which there is nothing to do
but to wait and see what We shall see.
John Hare's performance of 1.-THE Gay
Lord Quex'' was highly praised by the
New York critics last Tuesday, but he has
been assailed on all, sides for demanding
$3.50 for orchestra seats. 1t is claimed that
Mr.. Hare himself insisted upon having the
prices raised on the ground that Sir Henry
Irving had established the precedent. But
surely Mr. Hare has been often enough in
this country to realize that the reason the
American public cheerfully paid extra
prices for an Irving performance was be-
cause they not only got in many instances
a great play nobly acted, but Sir Henry
was put to an enormous expense in con-
veying his immense productions and large
company ever here.
Not only does Mr.. Hare not rank in the
same class as an attraction, but the COM
pany he brings with him is small one.
and he will only produce one play during
his season. To be sure. the play is
Pineros The Gay Lord Quex.'' which
has scored a great success; but hereto
fore, until very lately. at least. all the
gems of the PinerO repertoire have been
on view at $1.50 a seat. So IL it is the
play that is the expensive thing in this
instance. that excuse will never hold
water: while If it is Mr.. Hare himself
that is valued at $3.50 for view, that
excuse is equally futile, for while the
Englishman is charming and delightful
artist, there is nothing about his work
to excite the American populace to I'M
due enthusiasm. Mr.. Mansfield is willing
to play his superb production of Henry
W. at So a seat, and there are half
dozen stars of much wider range than
Mr.. Hare who are content to labor at the
same scale of prices.
If we remember rightly, 1t was Miss
May Irwin who announced last year that
there wasn't play on the boards that
was worth paying more than S1.50 to see,
and she is almost the only star who has
lived up to her convictions and kept her
prices down accordingly.
In order to acquant more thoroughly the
and music lovers OF this city
with the work and plans of the new Wash
ington Philharmonic Orchestra, its director,
Prof. W. H. Santelmann. has issued a
circular which will explain fully the aims
OF the new organization. Prof. Santelmann
expresses his firm conviction that II the
people OF the National Capital who miss a |
standard orchestra here become fully ac-
qlainted with the ability and the plans OF
the Washington Philharmonic Orchestra |
they will give it their hearty support and
ensure its permanency during the seasons !
to come.
The orchestra has been hard at work |
during the week preparing for it's first con-
cert, December 16. The programme for
that occasion has been announced as fol-
lows: Beethovens overture. "Leonore,"
No. 3: two Slavish dances. Nos. and 8.
by Dvorals; Wagner's "Albumblate" and
the introduction to ''Lohengrin.' and last.
but not by any means least Rats sym
phony. In Walde' which will be given in
its entirety of three movements. Although |
this list of compositions is somewhat pre-
tentious. Prof. Santelmann has perfect |
faith in the ability of the men under him |
to render them in good style. Viewed as
merely musical compositions. aside from /
the capabilities of the organization that |
should attempt to produce them. they |
should appear 10 every WUslc-lONeT.
A competent sOioist will be secured for |
the opening concert. In all probability it |
will be a pianist OF reputation one who |
has been heard before in this city, and who |
at that time won golden opinions for his |
work. The soloists for the remaining con-
certs of the season will be in keeping with |
the standard set at the first appearance Of |
the orchestra. |
From Chicago comes the report that |
Julia Marlowe will not appear in the |
drama tizntinn Of .'Whan Kniphthnnl Vas