New-York tribune., 1901-11-13
THE THEATRICAL TRUST.
MRS. MINNIE MADDERN FISKE MAKES
AN ADDRESS TO THE NINE
TENTH CENTURY CLUB

haze remained I'm steadfast opposition 10 the So
called theatrical syndicate" or 'Iheairlcai -,
Mrs Fiske is now playing in Miranda OF the D"l-
cony'' at the Manhattan Theatre. ana was ne
fore unable 10 arrive al sherry's until a iate NJ
Her address was listened with much interest," "
the of il she said:
II is probabe that many present to-nieh@l NJ i"f re
occasional references IN tne t,are heard
the Theatrical rust and that soIIe NC @ onerates
vaguely OF monopostic concern co,,ise i in New
many theatres and theatrical coInpaiIeSh ~ that
York and elsewhere but u is easiS if 8Sersonne of
what il Is or OF what IL aoeS, ,,-tIa interest in
the business side of the theatre II IS ol cbas ~
mediate Importance 10 the spec's.oL IA remnUerated
for his services or not: whether the theatre Ihaa +
play IN ms i forci,1e actors and dramatists
and ali others connected with the Ile6Ii - Ths
ing 10 nav tribute blackmail TO II or nor -
Iectator is interested primarily in the quaiE E,9 a.
Of his paygoing means the prices, ashtI t SEEING
5ood nia. without the preliminary experience 3 Ut
s|or Fgf when Il new system is put 1nto 9ptI,- 9pettI
ton by band OF specu2torS VIII I ~ m General
.rharacter of theatrical entertainment ne ~ -be
20 reaize ina, I'm ne Is af the TheatrieaI Trust is
found degrade the stage to @pSi OBS ~ esfr6y lis
artistic development then the existence anu ~ ,,as
ton Of intimate and personal I friend Of the
good playgoer and 10 every ItSti @ ~ ~ snail en-
HesHOr 10 80 ~. sInproaches 10 the stage through
Soe S 90 f,r Visiting theatrical conditions. -, AZ,
i = "a He'd The Theatrical Trustit is not trust rust
in the sense in hGh 5h35 ~'rS 20 doab the
bas been bestowed in this case as a tteIl %
ana lof LonTn9ous with oppressive monopeiy An
Industrial trust means the JoiIiS -ee roduct in
great p6TaIior The socaled Theatrical Trust
one one cor g( 1u in this way. 1t did not originate en- IN
Examination of capital and a unhcauoh ~ +F
erty interests. ,.-.-,r,s
Mrs Fiske gave some account OF me mems ms
o1e,atiols of the syndicate. and continued
There x is a. b9gnif4 fhe4e has BEEN at any previous
time But talent does not ma d Gtrieai Trust
. -r-ns,rara in proximity the 1heditlcdL -,ire
44n no desire TO develop talent for lis own 5re err
ana hants M ~ nart of the general scheme to oiI opt3dI
the money OF the public with oentIv a. has little
excuse for Improvement T. gai negGn Tnroductions in
ce Of making sa eng influence upon the actors
No indyfduality. originality OF t7f M stage
g 9i.,i ~ If the sort that furnishes the oIlg -
!ioal stage & ohN9t scene ne painters of the trust simply
study foreign models ana gqd2 of mere siavish
i+a+ion is il strange that Inediocr1y Ne ri
IheFe Is 1s 1 and acting plays This country ouI
playwrights and acI9Ts tors }uence Of sordid and
Commercial control that seeks Only ~ has no
method OF secuplhs nscience with respect to the
Enhancement OF American dramatic ar - "
The commercial does not diH9qEsy IS S9ys 'I' pays
af,a & ~ iT oST value has been determined so also II
buvs talent after talent has been f,IraII is
,eioneG by others The trust system ;r Iia - car3
~ f-ter9 IF meiiocrity. for from medlocrilN 1t o
exact larger snare er 0 e vas first disclosed many
artists naturally took fright ana might effectively
ooTbne for their protection against i me 1royn
iI ,o,er that menaced them SeVeTaI pio! NJ
neftlal Here outspoken in condemnation OF ote
principles that at the outset "te aS protective
oreanizaion there little hope OF @ ioTace Of
ing TO the strange lack Of cohesion aiiG 1ro-
,siTese detail characteristic OF tAe
fessOn. The trust. too number Of
artists would destroy its plans. g was The lead
@ sffer:T offers and they suddenly osf 3t 5
terest the plan of 3plgS,sI ,,er was defeated.
10 concertedly oppose the truS' VIC"
RI, s-ol,a AT some length Of the relations
-, +-,,s, ,z;th the press. toward whlch sle pe
,.,,as that it had assumed. in some CARS an
,-,,p-ar~antably dictatorial attitude she aIso Au
the opinions OF several persons prominent m con,
nection with the drama or Win N'e'
ing her address she said;
r,a Theatrical Trust with its innumerable TaIni-
5rations ard its sordid. viseke grip OF me Lne GorI
drana1ic history. In The past It is rue @ rnssjZ
in certain countries Wss sh at times to the
srrTicors favor OF kingy titled patronage. lmr
o af times is restricted freedom by cen
sorshp sometimes is marked NOR ~ or oIii
ical clerical and moral reasons The ofII ceisGI t
ljic which eniovs not only the privilege. but the
right of deciding what shall and what shali IioI NJ
prodtgious lR df Strides in the appreciation of other forms
Of art The galleries Of American colieCto.S az
renowned in the art ~or!d Out pain 80 a-t ie
rank beside those OF the countries Where al IL
older; architecture finds artistic EXPRESSION IN pupi %
and private buildings OF recent construction; tne
art OF interior decoration has reached amos L,le
highest point of progress that wealth coupled with
refinement and culture, can achieve: We nave a
literature Of universal Importance and value; we
are numbered among the worlds discriminat /
ing and liberal patrons OF music: IN act IN an
branches reflect the struggles and the asire-
tiors Of a people toward the highest We nave cone
our share II not more than share, TO add TO
the total Of the worlds advance during the
higher civilization We have permitted the stage
retrograde. With all the elements that 90 to
make d great national drama OF which every Amer
ican might be proud. find the opportunities slip
ping away. The two sisters Of the nine whose
people those OF any OF the other seven are neg
slept at its post. 1t has permitted the temple OF
the drama to be invaded by horde OF money
changers who have stripped the altar OF beauty
vessels. Only in America has the stage been af-
hicted by the sodden. corrupting. debauching in
Nfuence OF such control Thea trical Trust.
whose assumption OF the function OF providing
recreation TO a great people is the most extraor-
dinary and monstrous development be found in
The records OF any art
What would De said If few dealers in pictures
should usIlrp possession Of the only galleries in
New-fork and should say TO the public: You shall
no pictures except those choose TO let YOU
who are unwilling TO sell their pictures our
prices If any artist refuses come TO our
subjects as We demand his Work can remain IN bis
studio No one shall see it We shall wipe him OFF
What would be said If the publishers of this
country should pand themselves together and say:
public prefers. We shall give the public only the
We shall allow books TO reach the public whose
authors are unwilling 10 write down to the level
returns What If the contractors of this city
should combine and say: NO architect shall design
buildings except such as We may approve and that
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