Daily press. [volume] (Newport News, Va.) 1896-current, 1909-11-28
COST OF PLAY-MAKING IN
NEW YORK AND LONDON

Dramatic success In England mesns
more than IL does in New York II
costs less; il brings In more: II lasts
sonser aud is always upon more as
eured basis. These things have been
known to managers. but only since
Charles Frohmsn has been producing
the sams play simultaneously in New
York and London have explicit
5axpures become available FOR ilIustra-
zion.
At half past eight in London the
curtain rises in the Duke of York's
fheater on "Arsene Lspin." AS it
tails on the last act II is then half
past eight IN New York and the cur
tain In The Luceum theater rises on
act frst for repetition OF the same
play. =
A comparison OF figures In the Prob
man auditors Office shows that 1t
cost Charles Frohman just half as
much to produce "Arsene Lupin' in
London as 1t does in New York. Yet
the box once takings. though Cor a
smaller number OF seats at The Duke
Of YGrk's than at The Lyeenm. are in
the end greater, because IL costs more
to run theater aud a theatrical COM
pany In America than Il does IN Lon
don. The difference In the cost, OF
labor. actors salaries, theater rent.
lumber. unmount scenery, stuffs. far
niture and properties-which are only
some of the items that have to be
taken into account--are all in favor
Of the English production. And in
England there is the further ad-
vantage that an orchtra stall seat
fetches $3.50. as against only 81. for
similar seat in New York theater.
More than that. IL play succeeds
In Londen--and over there success
gets into the air before the end of
the play aud one need not wait
through the proyerbial three days OF
let lis See" as IN America--the man
aEer Is relieved OF all financial re-
s2onsibility He can pack up his grip
and go to his place In the country or
10 his houseboat on the Thames. with
a memorandum snugly put away in his
inside pocket assuring him that "eh
libraries have bought outright from
100000 to 100000 worth OF tickets
mouths ahead. These libraries" of
which Keith 4 Prowse are the fore
most, are the Tysons Of London.
In every cablegram that Charles
Frohman receives from London tell
ing him that another OF his produc-'
lions has scored In London. or. as
they say over there. is "A co. con-
tanned the added statement, "Librar-
les $lo0a. For example. when F..
Antey's farce. "The Brass Bottle.
vas produced few months ago at
The vaudeville theater. London that
yesn night Mr. Frohman received a
ceblegram reading: a go. Libraries
$Bo00.
BY the time the curtain rings down
on his opening performance In London
manager knows definitely. artist:
c55ly and financially. what his theat-
rfcal property Is worth TO the public
at large But that can never be known
as peedily aud as definitely in Ameri-
60. When The Dollar Princess was
done in the English provinces before
It reached London or New York. word
vas cabled TO America. Another
Merry widoy" When the same play
was brought out In New York on a
Monday night. Mr.. Frchman would
nor say until the following wednes-
day night. when the house sold out.
that the play had succeeded. In other
words. producing plays in England is
q business: in America IL Is a gamble.
1lcTeover. tnere IS permsnency IN
4 theatrical success in London that "
never known in America. Every pro-
dacing manager In America has
some time in his life had the expe-
rience OF going to his theater one
night and discovering that the public
il done with his play. The bottom
drops cut of theatrical success In
New York over night and without
farming: hut in London the wane Of a