New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-06-11
MR.. JEROME PAYS A
COMPLIMENT.

NTR.JEROME K-JERoME, who wrote
INl "The Passing of the Third Floor
Back" is out with a compliment to the
American stage. He presents il in the
course of an interview in "The Stage"
(London), reported by George PASTOR.
Mr.. Pastor found that Mr.. jerome took
a pessimistic view of the present out
look of the English stage; in fact, he
declared it he'd no outlook at all. He
announced his intention Of writing sole
ly for the american stage, where his
greatest successes have been made.
Mr.. PASTOR continues:
Unlike the majority Of English
dramatists, he does not consider that
the actor manager system is alto
gether TO be condemned, or, rather,
he thinks that the syndicate system
is worse. The actor-manager can
sometimes be persuaded to put on a
fine play irrespective Of financial
onsideratiOns); but the business
syndicate has no thought beyond the
theatrical wares that may be expect
ed to make the strongest appeal TO
the box Office. The finest play in the
world would be turned down by a
syndicate if they thought Gas they
assuredly would) that it was over
the heads of the public.
There can be few English drama
lists who have not suffered in their
time from the tyranny of the gag,
and Mr.. Jerome has had his trials,
like the rest Of us. 1t is almost i'm
possible 70 get play acted as it is
written, even though every properly
drawn-up agreement contains a
clause to the effect that nothing IS
TO be added to or deleted from the
text without the authors consent in
writing. But this clause, according
TO the English manager or star, is
more hOnored in the breach than in
the observance. The same may be
said of the clause that enacts that
the cast shall be subject 10 the au-
thor's approval. There are wheels
within wheels in practically every
theatre, and it would be easy to
point 70 companies in which one or
more members have been chosen for
reasons quite unconnected with their
suitability for the parts for which
they are so mysteriously cast. In
France such things would be impos-
sible, for there the Soeiete des Au-
tours Dramatiques is an all-powerful
body, which rules over the theatres
with a rod of iron, and woe betides
the manager who fails TO keep every
jot and title of his bond.
In England, where dramatists have
not yet the union that makes for
strength, the playwright discovers,
70 his cost, that his contract is often
little better than a scrap of paper"
in certain respects. He may try 20
get an injunction against manager
who has committed breach of the
casting clause, but it is difficult 20
prove damage suffered, since the de-
linduent can call dozens of his pro-
fessional friends 10 testify that the
artist in dispute is the best possible
exponent of the part. Again, with
regard 10 breaches OF the alteration
clause, the managers can always
claim that piece which only runs
a month would not have lasted
fortnight without his brilliant
cancellations, while II it plays 10 big
business for a year he may insist
that its success is due 10 the same
cause. And il is impossible TO prove
that he is wrong / think that any
one who has studied the conditions
of theatrical business in London will
agree with Mr.. Jerome that a pro-
portion Of the failures that take
place every season are due to mis-
casting and TO unauthorized altera-
tons Of the text.
Conditions being what they are on
the English stage, Americans will
Immediately sympathize with Mr.
Jerome's desire TO write instead for
the American stage. How fortunate it
is that none of the evils listed by Mr..
Jerome happen 20 obtain on this side
a H. rratnr @ 8