Evening star. [volume] (Washington, D.C.) 1854-1972, 1905-05-24
Theatrical Economics.

They have queer ideas of value out in
Colorado, In that region of supposed lib
erality and even extravaganza One would
expect a broader economic basis of busi-
ness than that which apparently underlies
a decision just reported from Denver that
a certain theatrical manager, In whose
house it was announced a now widely
known actress" would appear in the
course of grand tour. has refused to book
her the ground that she is not worth
the price charged by her own managers
This actress he says, was before her
trial for alleged crime only $40 a week
chorus girl. He cannot see why she should
be worth one hundred times as much to-
day Her voice has not improved, he de-
clares, by reason of her court experience,
nor has her histrionic ability been en-
larged. Why. then, this sudden advance in
price?
The Denver manager is mixing his ar
tistic and his business views. He is at
once right and wrong. 1t does not matter
a peanuts worth with the public of
certain class whether this woman can give
better entertainment today than she could
before. That public does not care a ftp,
indeed whether she can entertain on the
stage at all. 1t expects to pay it's good
money simply to see her. and if she goes
through the motions of singing or acting"
it will be satisfied. 1t would probably pay
as much to gaze at her as she sat still
on the stage and did nothing. The singing
and acting" thrown in merely for
the sake of the traditions Of the stage. to
keep up the delusion, to hold the so-called
performer to her professional role.
This matter of public curiosity is beyond
analysis. The dime museums prove this.
Thousands will crowd the booths at the
summer resorts where two-headed pigs are
exhibited, or three-legged chickens, or
Siamese twins, or tattooed rer, or snake
charmers, or dog-faced boys. None of these
things is ediCying. instructive. elevating or
even pleasant to see. Not one Is calculated
to increase the happiness of the beholder
Yet fortunes are made by the managers of
these shows simply because they know that
the people love TO gaze upon the abnormal.
=. T. Barnum uttered a solemn truth when
he declared that the public loves to be
fooled.
During the trials of this woman in New
York the court room was thronged with
people who fought for places in line for
chances to look upon the prisoner. They
were drawn by morbid curiosity The
woman herself they would probably have
passed in the street without notice. Given
notcriety and a suspicion of tragedy and
a vulgar romance and she became object
of insensate solicitude. And the shrewd
managers who have, according to reports,
offered her big salary are banking upon
that same spirit today. They know that in
few weeks she will cease to draw as a
novelty. They must make hay while the
sun of public befoolment shines. And that
is why the Denver manager is wrong In his
business calculations. But, even So there
remains in the public mind just enough
sanity and balance to cause him to be APP
piauded for standing out for old-fashioned
principles of supply and demand and for
sticking to the theory that the stage is a
place for artistic demonstration and not
for side-show exploitation.