The Washington times., 1908-08-09

One OF the most remarkable features
OF the modern stage is the importance
OF its financial operations. Dramatists,
actors. and managers Of a half century
back would indeed be astounded If they
could return to earth and note the in
crease in the amounts dealt with in
connection with the drama.
1t is difficult to obtain exact informa-
ton on the subject. and many Of our
ideas and estimates must TO some eX-
tent be founded on conjecture. suffi-
Client, however, is known to prove the
great change which has taken place in
the profits of author. actor. and man
ager.
IN the case Of the authors makings
these have wonderfully improved since
Il. J. Byron had 10 sell his capital COM
edies (Which later netted many for
tunes) for a fixed sum down. usually
about $500. and died a poor man.
Dion Bouclcault was a playwright
who may be said 10 have belonged to
two generations. for the majority. Of
his later successes came within the
cycle Of higher payments and bigger
profits Shortly before his death he
stated that he had some tines made as
much as 10000 a year b. his pen.
Sir Augustus Harris I'd Mr.. Petit.
from a comparatively recent Drury
Lane success, made 5000 a week from
authors fees alone, and in addition the
former made about twice as much again
as manager
Big Royalties.
Sydney Grundy is said 10 have real
lied 5000 IN royalties from "A Pair OF
spectacles" up to the 255th -'-ht Of its
representation, as well as 3 iar.,e sum
down. This comedy. after more than
twenty years, is stiu holding IL. cards
and yielding a handsome income to all
concerned.
Henry Arthur Jones complained that
when he had received SIS. 600 from one
OF his plays the actor-manager who
produced IL had Melted something like
$4,000. which let's US into some Of the
secrets OF the profits made
Sir William Gilbert received $3.50, 900
in eleven years as his share Of the re-
turns accruing from the DOyly Carte
productions OF his operas, for which
Sir Arthur Sullivan wrote the music.
George r. Sims set forth some years
ago that he had made about $50. 600 in
royalties from a single melodrama and
that the money was still rolling IN at
the rate OF $500 a week. II Is well
hAu II. LLlGL N llbDu EaIIELL pdlQ MIN
$4,000 in fees for THE lights O.
London" He probably paic Herman
and Jones quite as much or even more
for The Silver King"
In this country Bronson Howard.
Augustus Thomas, Clyde tSstch, and
others also have made large sums out
Of their plays. In Paris Victorien Sar-
dou has made a large fortune out Of
his plays and other dramaIs-s con
siderable incomes,
Salaries Have Increased.
The salaries Of actors and actresses
have about doubled during the period
mentioned, and il is only fair that they
should enjoy their share OF theatrical
prosperity.
The managers profits are not so
easily determined, though il may be
stated roughly that the producer makes
about two or three times as much as
the author, and as he runs greater risks
this is quite reasonable, in spite Of the
he gets more th@n his just proportion.
Though actual figures are not avail
able, il is generally understood that
Our Boys" produced at the Naude-
Vile Theater, London, Melted about
$500, 900, while "Chariey's Aunt" also
first produced in London, probably
holds the record, il having scOoped in
for its proprietors the phenomenal
sum of $1,5OO,O0 Yet these are still
valuable properties, yielding a good in
come to this day
Large sums Of money also have been
made from SuCn plays as The Private
Secretary" The Old Homestead"
THE Sign of the cross" Shenandoah, %
(which made over S1.0Oo,O0O. The Coun-