Evening star., 1902-02-22
THE CLAQUE IN PARIS
The Concession System is a
Business.
AUTHORS S'TICKETTRADE
WHY THE SIDEWALK SALES ARE
STRAIGHT.
Real Scalpers Must Compete With a
Greater Nuisance Than
Themselves.
AUTHORS TICKETTRADE
Special Correspondence of The Evening Star

Special Correspondence of The Evening Star.
PARIS February s. 1902
The claque is not what you think it is"
said the old Paris theater manager. In
stead of being paid it often pays for it's
places Instead of being recruited by the
management, it is often recruited by out
siders. Furthermore, the men whom you
imagine TO be ticket scalpers shouting on
the sidewalk are in reality the theater's
best friends, although they almost always
do it harm.
We replied that we knew the life of the
Paris thcaters to be full of contradictions
old survivals and anomalies; so that as
long he did not call the scalpers the
public's best friends too, we should not be
surprised.
If selling You better place at a lower
price than you could get it at the box of
flee be friendly act, why not?' he asked.
You will be telling next that we ought
not go to the box office for our tickets at
all
Half the times you buy your tickets at
the box office, you aid the management to
cheat it's creditors" he answered calmly;
although / ought to admit that the other
half you will be aiding playwrights. au-
thors and actors to cheat their creditors"
Please go on with your story we beg
ged him now. You are getting us all
tangled up
I'm Paris said the old theatrical mana
ger. there are two kinds of theaterS-thoSe
that are making money, and those that are
not Both may be divided into two
other classes-those who grant concessions
ever. can dispense with that old friend and
supporter called the claque
The claque, a body Of from twenty to
two hundred men and women. as well dress
ed as possible. scientifically disposed In
little groups in different parts of the house,
starts up applause at the right moment
when it might not start up spontaneously.
and directs natural applause when it ex-
lists. Thanks to its intelligent work. each
artist is sustained according to his tor herr
need and rank; the piece is carried to sue
cess over many delicate spot: and the
great public gets unerring tips on the strong
situations. SO that 1t may know when to
applaud and when not to.
we always heard that the claque was
paid said.
1T would be paid We're 1t necessary he
answered. IF for the only reason that most
actors and actresses contracts call for the
claque's support; but have you ever re-
fiected how many wel-dressed and per-
fectly correct people there may be in Paris
anxious to go to the play at low price or
free? Take one class alone-young men
who hope to be playwrights or actors.
Zola. for example. was such a one: and as
q young man he was glad to enter the
claque of the Theatre Francois. often pay
ing as high as 20 cents a night for a good
place. In serious theaters with good rep
always sell the places at from ID to 30
cents. and very much prefers to do so for
this reasan-that the paying claque Is al
ways of a more cultivated and serious
class. In more spectacular theaters, where
less Is TO be seen and learned, and when
pieces threaten failure, the claque must
be paid, in whole or in part.
A "Chef" at the Head.
Take an ordinary theater with star
and piece promising a fair rum" the old
manager continued. land suppose it's man
agement to be independent financially. 1t
Is good deal to suppose In these days.
There Will be a chef de claque' on a small
salary and. say, thirty-ffve tickets per
night. These tickets he may SELL at his
own price. for his own pocket: but in re-
turn he Will be obliged to furnish so much
applause of such quality. For his lieu
tenants he will have dozen ntimes'-
poor devils with a passion for the theater.
content TO show up nightly without fail in