The Saint Paul globe. (St. Paul, Minn.) 1896-1905, 1900-08-12
R|ALTO MOVES Up Town
1T HAS LEFT UNION SQUARE AND
IS NEARLY UP TO
FORTIETH
PEACEFUL VALLEY BILLED
Valentine Stock Company VIII Pre-
sent Sol Smith RusseIPs Pastoral,
Opening This EpenlnR
at the Graz \

Special Correspondence ct. Paul Globe
NEW YORK, Aug 8-"The Rialto," of
New York has gradually shifted with the
northward growth Of the business inter-
ests of the town from Union square to
Broadway, between Thirty-fourth and
Forueth street. 1t is here that most
OF the theatrical managers and agents
have their offices, and where In midsumr
amer theatrical performefS seek engage
to aents for the coming season. This part
Of the street has lately been irreverently
and loosely styled 1.-THE Alley" not
withstanding 1t is the widest and hand
so,nest portion of the famous thorough
fare. Along the east side of the street
at this time of the year the most cas-
ual observer may recognize the familiar
faces Of stage celebrities as they wander
from one Office to another or stop to chat
with the many little groups that are
constantly forming to melt away and be-
come segnents of other impromptu gath
erings. All kinds of theatrical business
have been concentrated here for OBJ
Vious convenience, and even the one
night-stand manager finds comfortable
desk room for the summer. Most import
ant Of the offices on the street are those
of the managers of road productions.
Klaw & Erlanger, the Frohmans, Iiebler
Co., and the firm Of F. c. Whitney, and
Edwin Knowles, each operating a num-
Der Of companies, are engaging the largest
number of stage folks. The latter firm
has It's offices in the handsome Knicker-
booker Theater building 1t is the new
est of the big firms, and is sending five
companies on the road this season.
"QuO Vadis," dramatized by Stanislaus
Strange, which divided the GROWING
honOrs of the past season with ben
Rur," is their principal attraction. 1t
did not end It's remarkable run in New
York until long after all other theaters,
except the one in which 1t played, had
closed their doors for the summer. Con-
seQuently 1t was seen by the hundreds of
actors who were laying idle at the time,
and it created aspirants to play the roles
Of Vincius, Petronius, Lygia or Nero the
coming season. Since the first Gay that
Max Freeman, general stage director for
F. c. Whitney and Edwin Knowles, COM
menced to select the people for the
various companies to be operated by this
firm, the long hallway outside Of his OF
fee, reaching to the elevator, has, dur
ing the morning hours, con tained a
large and wonderful assemblaG Of "the
legitimate" The veteran director of
stage productions tries to keep .sool dur
ing the negotiations incidental 20 engag
ing the actors, which seemingly do not
have a moderating effect upon tie heated
atmosphere. With hundreds to engage,
brevity and dispatch are necessary, and
Freeman is qualified by long experience
to exercise both. He has hLI list Of
the characters for which actors gre need
ed spread before him on his dc SIX, fike-
h inf oF afar1 70, ,,ffn
for the managers have figured out the
amount to which the salary list must be
confined There is need for breVity, for
there are three "Quo Vadis" companies
to be peopled, one for the East, one f,4
the Central and Southern states, and an
other for the West as well as the COM
panies which are to support the new
stars, John E. Kellard in 1.-The Cipher
Code" and Minnie Seligman in hSr as
yet unnamed play. There are thirty
two speaking parts in the cast of each
Of the "QuO Vadis'' companies. There are
also Pretorian guards, slaves, Nubian
soldiers characters, vestal virgins, sem
atOrs and citizens, who are required to
sing the choruses written by
Eulian Edwards as an integral
pe-$ Of the big drama, and to
execute tbs movements and massive
groupings, which are vital to the mise-en-
scene. SO it is necessary to engage these
VI
each organization, for they are as import
ant as the chorus singers Of travelling OPP
era companies, since the marching of
the soldiers, the rushes of the mobs, the
dancing of the slaves, and the combined
choral effects are too difficult to be drilled
into new crowd at each town. Conse-
quently the three "Quo Vadis" compan-
les operated by F. c. Whitney and Edwin
Knowles this season will rank among the
lagest which have ever been sent on the
road.
Freeman's acute perception, acquired by
long years Of practice, enables him to
make the selections rapidly. His glance
takes in the face and figure of the appli-
cant, measuring height and detecting
good or bad physical points with incredf-
bic swiftness. His ear carefully notes the
quality of the voice in a few moments
conversation. And here at least, is one
instance where the theory that influence
is necessary to gain a foothold on the
stage is confronted with formidable refu-
tation. No favorites, to use a colloquial
expression, are played by him. He seems
to have adopted the motto First come
first served" and so the parts are quick
~ filed, without favor or prejudice out
side of each individuals qualification.
The only modification to this rule exists
In the selection of the actors to play the
most important roles, for which specially
adapted aruStS are SOUGHT whose proIn1-
nence must be weighed for commercial
as well as artistic purposes
The morning when the writer, by spe-
cial invitation Of Max Freeman, occupied
q place beside his desk to watch the pro-
ceedings, was full Of humorous incident
Freeman is of the sensitive, nervous tenn
permanent found in high-strung artistic
mentalities. On this occasion he came
Tuning and perspiring into his Office
which VS. W. filed xryff1h
dfdates, tearing off his coat, collar and
cuffs, to get more air. The day was op-
presslvely hot The appearance of the
stage manager was the signal for an