The Salt Lake herald. [volume] (Salt Lake City [Utah]) 1870-1909, 1904-02-14

1
j concerts by two good orchestras and
the interest that viii he stirred up By
the artistic rivalry. VIII advance Chi
+ cagO in q musical way.
In Der Turner Karl StoTck writes
/ on @Hausmusik." and after speaking
adimirngly ON the work Of mems chO-
! Tuses and what they have done tor
! the uplifting and maintenance OF cho-
/ raj singing. points out that times have
! changed and the woman is now an
important factor in the practice of the
/ art Of singing. he says: The women
treasure their songs more than the
men; they do not sing them only in
/ the choFuses, but take them into the
J home; they teach them to their chill
dTen. More important than the sing
ing Of the male chorus is the song Of
/ the people. Women carry a great por-
, tton Of hfe's burden: 1t is but right
/ that they should enjoy an equal part
ornament which not only beauties,
/ but also ennobles." This writer also
( writes about what should be done in
/ Germany TO enhance Wagner's mem
DRY. He suggests that instead of erect
3 ing monuments Of bronze and marble,
public subscriptions should be solicit
| ted for the creation Of q fund which
would enable many whose eircumstan-
ces would not permit IL otherwise 10
tattend Wagnerian performances.
The absorbing topic among theat-
rical people the past week was the
combination effected by Klaw & Err
LANCER and Stair & Havlin, which prac-
tically gives these tw) syndicate COM
binatiOns control of all the high price
| and the popular price theatres IN the
country as far as the bookings of at
/ fractions in them for the coming seven
| seasons IS concerned.
Now that the thing has been settled
and one has 4. chance to look over this
field carefully, the magnitude OF il be-
comes more impressive. The forma-
| ton Of this community of interest plan
between the big booking agencies Of
/ the two classes Of theatres means a
great deal It viii give Klaw & Err
| LANCER control of the high price the
| aires in every city in the country. The
same goes for Havlin & Stair as re-
CARDS the popular price business. The
number Of theatres involved viii foot
up at least 500, and allowing for a cost
Of 100000 to each theatre in the be-
ginning it means the same as an in
dustrial combination on a capitaliza
ton OF $50 000 COO. While the booking
! agencies do not own these theatres, as
far as supplying them with attractions
and mapping out their futures they are
as safely intTenched as if they owned
| them outright, for the local managers
/ are under contract to book through
their agencies exclusively. This gives
them control of the entire travelling
the8tFica field outside of the vaude-
vile and burlesque theatres.
The layman not acquainted with the
( workings Of the theatrical syndicates
might not at the first glance realize
how completely the control Of the
houses is effected by this new eOnlbin-
alton The explanation is simple
enough. A manager of a local theatre
in Cincinnati by contract places his
house in the Stair & Havlin circuit.
They have their headquarters in New
York, and by these contracts establish
/ a chain of theatres from one end Of
the country to the other. The travel
/ ing manager or producer of the attrac-
, tions that play these houses no longer
goes to the local manager or the east
ern representative, as in days gone by,
but submits his show TO the stair &
Havlin booking agency, and if they are
satisfied that it viii make good they
map out a route for him in advance.
This is done long before the season
opens. and, providing nothing unusual
should come up to interfere, the orig
/ inal route is played, say from New
York TO omaha, if the manager only
cares to 90 that far west. 1t is graded
off between the week, two and three
night stands and the one-night stands.
/ and so arranged as to reduce the rail-
way jumps between these various
| stands to the smallest possible limit.
In this way there is an appreciable
I saving shown to the travelling man
/ ager. The local managers saving
/ comes from the arrangement of his
/ reason at a small cost and with little
trouble to him
This same rule applies to the big
| syndicate, excepting that they have
neither as many theatres nor attrac-
| tons to look after and the work is,
| therefore, not as intricate or extensive
as the popular price circuit manage
merit becomes.
Sothern was entertaining an old
/ friend recently in his dressing room
( between the scenes of The Proud
Prince" and there arose an argument
upon the drama in general. His friend.
a somewhat exCitable gentleman, was
in the heat Of discussion and was en-
plOying language scarcely fit for the
/ drawing room, when suddenly there
/ entered the room digniiied and a de-
!
( the center Of the room, saying in an
earnest monotone:
| "Have you no fear of God?' and mys-
| teriOusly departed as he came.
Mr.. SOtheTn's guest was greatly dunn
| founded, but was too well bred to ask
any questions Resuming his argu-
ment he again grew heated in his re-
( marks. and again the col0red man
! quietly and mysteriously entered, and.
/ clearing his voice. declared:
! IF you were the devil himself. do
/ you think you could make me like
your
/ To SOthern's guests surprise the actor
/ took the interruption as a matter Of
| course, so SOthern's visitor in dazed
manner continued his argument, only
/ 10 be interrupted again and again BIS
I the same c0iored intruder, this time
/ with the remark:
I know you now, and Cod knows
! pity you"
Mr.. SOtheTn'5 guest was now too sur
/ pris5d 70 talk. lie sat in Il collapsed
I condition until the same man had en-
! tered three separate times and in an
! eXpressiOnless voice cad said:
Il am as Changeless as the sun. I
/ viii carry nag soul pure to heaven.
You are the strange woman.
You shall be as beautiful as I am
/ and as happy"
This last remark was too much even
| for SOthern's friends nerves. He was
/ barely able TO gasp. "Sothern, what
/ the - does this mean? Is this a
/ joke or an insane asylum? Who is
/ this fellow"
That said the actor. that is sim
1 ply my dresser, Lewis. His duty is to
notify me OF the progress of the play
/ by lines. In that manner know when
/ my cue comes
I f-Ng, e.sz