Evening star. [volume] (Washington, D.C.) 1854-1972, 1905-03-26

thority from the art side than Sir Henry
Irving and Mr. Richard Mansfield to sus-
tain this point. Sir Charles wyndham was
moved to say recently that the theater
was never in better hands"
Results Tell.
The clashing of dates which was so ruin
GUS to managers. both local and travelling.
has been practically eliminated under the
arrangements effected by the theatrical
syndicate. In spite OF all twaddle to
the contrary audiences in interior points
are witnessing better attractions than were
ever sent them before. Landlords and
owners OF theaters are getting better rem
tails. and business obligations Of the theater
are being met, while the town marshal and
deputy sheriffs are enjoying iong-wanted
holidays so far as theaters are concerned.
/ say IL without the slightest fear of sue
cussfui contradiction that the general ten
dency of theatrfcaIs has been one of wide
Improvement artistically and financially.
At the formation OF the syndicate not q
single theater except those owned or
leased at the time of its formation by the
gentlemen forming the syndicate was
taken into the alliance. and every other
one that came into IL came into 1T volun-
tariiy The best proof of its efficiency lies
In the fact that the contracts have been
twice renewed and not single client has
ever left. In several instances where local
managers have died they have left instruc-
tons, by will or otherwise, to their admin
istrators to continue the arrangement and
several widows in the United States can
testify to the security of theatrical invest
ment for the first time In half a century.
Supply and Demands.
In an article In the Cosmopolitan of De-
cember / used the following language:
IAN attempt is made now and then to
draw parallel between the theater and.
for example. the railroad. as an Illustration
of public institutions. There is this differ
ence between them: The railroad takes up
the public highway. which is yours and
mine and everybody's. The theater. on the
other hand. does not take up one inch
that 1t does not pay for-and In most cases
II pays twice as much anybody else
would pay for the same thing. In America
there are no governmental subsidies for
theaters. Private capital has built every
playhouse in the land.
The theater is not primarily an educator
OF the public. Many good folk think 1t is,
put this Is not so. 1t Is not so because
lie that IL should be educated Let the de-
mand once become apparent and the de-
sired response will Immediately follow The
shsater is governed by the rule. and OBJ
prfses. 1t Is not out to dictate to public
taste. 1t Is out to satisfy the public de-
mand. While even such purely business
undertaking must be hedged about with
the essential suggestions of artistic re-
quirement. do not believe that the pub
lie demands of US that We give over our
cor, ses r Moreover, the public
lie has the right to ask of a manager il
that he shall give 1t good, clean. decent
entertainment of wholesome sort That
Is as far as the public should go. And 1t
Is the duty Of the manager to label his
wares. honestly and clearly. that they may
not be mistaken, just as 1t Is the obliga-
ton of every other merchant to display In
a.
OF his establishment"
Order Out of Chaos
There is no business In the world so elu-
sive as the theatrical. and 1t was high time
that something like the formation of the
syndicate was undertaken to rescue the
promoters of theatrical enterprise from the
hazards of so perilous a business. The
syndicate cannot ever hope to shape pub
lie sentiment, and no one else can Nor do
I believe the stage can. I believe public
sentiment shapes the course of the stage.
The stage, at least in America, has grown
cleaner and better constantly.
In closing this article, which l have writ
ten in great haste. under a promise wrung
from me at an inopportune moment. 1 can
not do better than to quote again from an
article on the same subject written by me
in the Cosmopolitan:
1.-The theatrical syndicate has brought or
der out OF chaos legitimate profit out of
ruinous rivalry Under it's operations the
actor has received higher salary than
was ever his, the producing manager has
been assured better percentage on his in
vestment, the local manager has won the
success which comes from the booking of
accepted metropolitan favortes. 1 know
of no one, generally speaking. who has
been worked an injury by the commercial
ization of the stage In America. Practically
every first-class theatrical manager Is now
a member of 1t, and never in the history Of
theatricals have they all been so prosper
GUS"