The Washington herald., 1914-04-26
American Plays In Greater
Demand Than British
Productions.
RIVALRY GROWS INTENSE
Native Producers Resent Managers
Inclination to Buy Latest New
York Successes.
py W. ORTON TEwsoN.

noying, inasmuch as its hrst meaning
is so completely changed-has never be-
fore meant what II does today In the
theatrical world.
II there are not at this moment oy
actual count, a greater number OF Amer
lean PLAYS, managers. actors and ac-
tresses on the receiving end OF London
amusement seekers purses than there
are English plays, managers, actors ana
actresses there are at least as many
Here is list OF names-hardly half
the total could be collated-of individuals
now doing a successful business In Lon
don's West End theaters: :.
Managers-Charles Frohman, Lee Shn-
bert A. II. Woods. Harrison Grey Fiskd'
George Tyler. Cohan Harris.
Stars-Elsie Janis, Walker Whitesidq'
Clifton Crawford. Joe Coyne. Ina Claire
Robert Yorke. Harry Leonard, Let
Hearn. Ethel Levey. Clay Smith. Thomaf
Meighan, Mathilda Cottrelly. Frank Car
ter and Isabelle Darmonde.
Plays-"within the Law" "Broadw1y
Jones'" Potash and Perlmutter. The
Melting Pot" not TO mention Victor Her
bert, Avery Hopwood. Charles Klein.
Ned wayburn Gus Sohlke. Edward Tenn
pie. Oscar Schwartz. Montague Glass,
Nat Aver. Walter Moore. and Yorke &
Adams.
Charles Frohman Talks.
Music hall entertainment here is all
founded on American melodies. a pro-
gram OF any one Of them looking ike
a Broadway music publishing houses
standing list To ascertain what the
end is going to be, | sought Charles
Frohman today. He was quite ready 10
give his opinion. He said:
IF readers OF The Washington Herald
remember, they will know l prophesied
Just this state of affairs in the columns
OF The Herald a half dozen years ago.
"Of course. / can't say the result Is
due to my prophecy or to the great
influence Of The Herald. but l can say
feel d large pride that my own enorts
have helped in some message TO even
tuate existing conditions
We've been attacking London a long
time, but now victory is ours. II Is no
longer necessary for the American actor
to accept less wages for London en-
gagement Managers here must have
American principals. whether the comedy
be serious or on the plan OF the music
halls.
London audiences now are educated
and demand American actors American
plays also need no apolOgist now. since
the DAY OF the tea cup play has passed
in England as well as in America
realize that l. more than any other man.
play, but no more.
Change in Play Demand.
The play OF explanation is passed;
America insisted on the play of situation,
instead. And London swung into line.
Undoubtedly Elsie Janis success Is
the most sensational in my recollection
but II doesn't surprise me at all. SHE'S
genius and she's young.
Il told George Edwards four years
ago to get Elsie Janis to come over and
appear in one of his musical comedies.
| told him he needn't have any part for
| her-just let her walk and do what she
pleased before the footlights.
Her tremendous success at the Palace
was inevitable. not only in London. but
| anywhere in Europe. and that brings me
TO the making of a prediction. Within
| less than ten years you will see Europe
clamoring for American artists and plays.
| Our artists have the quality | call
electric Clifton Crawford. Joe Coyne.
| Ina Claire and Ethel Levey now playing
| here are artists who can take any audi
| ence into their arms by sheer force OF
their personalities. The London managers
| accept the situation as gracefully as pos
sible That's only natural but for any
one to say they welcome fresh blood is
| ridiculous.
| Hesentment IL 1rO"iuR.
West End London has a very small
| number OF theaters and a small number
! OF active producers still. Resentment Is
natural when competition exists between
| established native producers.
Il expect much greater resentment
soon when all the biggest successes are
made by Americans. But the fact re-
mains that this is the heyday of our
| prosperity as exporters OF amusement
| material
For so many years I've been an i'm
porter that feel qualified to speak on
the subject. But let actors awaken
England is ready to take all they offer,
and if it's good enough for New York
! it's good enough for London.
An American actor need no longer
have only a thirty weeks season; he can
| have fifty-two weeks. minus only the
| time required for a round trip between
! New York and London.
| 1t needs no keen observer to discover
a gradual turn in the tide regarding the
movements of London managers. Until
the last few years, all of London's i'm
portations came, exclusively almost. from
the continent Today ten London man.
ayers sail to New York TO one who sails
across the English Channel.
They've awakened to the fact that II
they don't buy up New York successes
| themselves, New York managers will
bring them over on their own account.
song hit for Elsie Janis.
TO return TO the subject of Elsie
Janis and her triumph. II pleases me
more than l can say to feel that l had
a small part in contributing to her sue
cess-and it's a story I've not told be
fore.
"One blizzardy night last February at
hotel in Rochester / asked Harry
Smith and Joe Hearns to write me a
popular song to be interpolated into The
Laughing Husband They sat in the
cafe until 4 o'clock in the morning. then
! came 10 my room and awoke me. Smith
and Kerns presented. TO my great edifi-
cation. the result of their nights labors.
That song is now being sung IN every
musical comedy I have in America and
the nation. from Maine to California, is
singing it, It's title is I'm Here and
/ You're There
Until o'clock on the afternoon OF
Miss Janis first appearance here ! had
been unable to induce the artist to whom
4 had given the right to sing the sons
in London to relinquish that right in