The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-12-27
TWO SIDES OF A STORY.
Does Moving Picture Posing Help
the Actor or Otherwisc.

the NctOr mr. OuuerNbses
Lee Shubert is one of the mana gers
who believes that actors Of both sexes
dimage their CONNIE cial value by APP
pelr.ng in the picture plays. He is
rious on the point, argues that they
Cheipen their commercial value and
Otherwise render thems Ives less Valu-
able to their managers and eventually
TO themselves by accepting the money
Tor posing in the moving picture plays
But what Mr.. Shubert said the other
day to a SUN reporter bes. expresses his
theory in the matter.
Many OF the best known artists of
the American stage have ruined their
ranking and drawing power by acting
for moving picture productions" de-
clared Mr.. Shubert They have not
only lowered their Importance as players
in the regular Legitimate drama bu,
they have similarly injured the business
Of producing managers who afforded
them the opportunity of achieving popu-
larity with the theatregOing public.
Nowadays when n responsible legiti-
mite manager presents one OF these
actors in IN expensive production he Is
Tx ly to find that in the near vicinity
of the playhouse at which he is offer
ing this particular star at regular high
class prices there Is a moving picture
theatre where rfis artist is stimuli
taaeously being famboyantly featured
at and 10 cent admission prices.
The picture house promoter uses the
same style of billing as does the legiti-
mate manager, with the result that the
mind of the amusement seeking public
becomes so confused that oftentime =
one is at loss to know at which theatre
a certain actor is appearing in person
and in which he is playing on the
screen.
AN example of this point occurred
not long ago. William Farnum was APP
pearing at the Lyric Theatre in The
Battle Cry a regular first class lsgiti-
mate production. At a nearby motion
picture playhouse Mr.. Farnum was also
appearing in another production on the
screen. but not in person. Since the
advertising for both offerings was very
similar the public was at loss to under
Stand which was "A moving picture and
which was not.
"A few of our legitimate stars have
refused tempting offers from picture
producers because they realize the ulti-
mate outcome of such action. They
should he complimented for their sin
certify in wishing to uphold their stand
lng IN the regular dramatic field.
Authors too. have done much tc
destroy the value OF legitimate produc'
tons. Dramatists who will sell PLAY
to a regular manager only upon terms
ranging from to 20 per cent. OF ths
gross receipts will dispose Of the!i
work to moving picture producers fol
almost anything they offer"
Daniel Frohman holds the contrary
view and defends it just as vigorously
He was one Of the first of the famous
managers to associate himself with thu
PICTURES.
Mr. Frohmln was asked what thu
effect was on leading actors who were
Photographed in moving pictures he"
q Affected their work AS actors on tn
regular stage. one or two objections
were made by several managers re
Gently. who stated that the stars were
thus cheapening their stage value.
"Ou the contrary" said Mr., Frohman
vt improves their value We have foun,
IN our experience with the Famous
Players Company that the young AM
attractive stars who were not wei
known in remote sections OF the coun
Try. have by this means created dc
sire on the part of the public to SCI
Their work ON the regular stage. In M
cas-" If many popular stars their re
ports 10 Ms were that their business II
certain sections had greatly increased
by reason Of the curiosity and interes
evoked by their picture work.
'THorr is no doubt whatsoever tina
mo appeal Of the actors personality u