New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-01-26

The free, open handed wasteful days
are no more Efficiency and conserva-
zion have risen to curb our fine reck
,essness. and the latest modern discov-
srv. byproducts, completes our abase-
mcnt to thrift The theory of byprod
,cts would seem to be to make out of
something you didn't want something
von didn't know you wanted. A fresh
rain Of byproducts is created in each
process and the complexities of mod
ern life stretch themselves out illim-
itably.
The spirit OF the theatre is not really
Nsnosed 70 these modern gods, but
With the day of efficiency and organ
;zation upon us it has succumbed
thereby sacrificing Il good deal of ro-
nance. but gaining increased reputa-
rion for being q safe, reliable, accred-
tied business. Even with the loose
methods OF the theatre frightened there
st;ll remained regrettablc (from the
business standpoint) waste products,
duo 10 its inherently adventurous nat
IRE. which requires manager to stake
large investments against so hazardous
. thing as public favor. The sea of
ronularitv holds its own mysteries. A
manager might follow all the signs
that promised safe port and yet go
mon the rocks. But large element Of
his risk is now removed by the turn
ing to account of former waste prod
uct of the theatre.
That waste product is empty seats.
In the benighted pre-efficient days an
artless manager could do no better with
empty seats than give them away in
large handfuls until the show which
public favor had rejected could gather
Itself up for decent exit Lareesse
al tickets was bestowed on stores and
factories, shopkeepers were literally
rewarded for window displays, and by
one device or another the house was
dressed" Whereupon arose shrewd
and cunning brood who said, This
show NAV not be worth 80. but cut the
nrice in half and who can resist bar
GAIN OF course it would injure the
dignity Of the house to have its scale
reduced at the box Office, but give US
the tickets and we will dispose of them
Tor you" But the managers were OBJ
fuse They did not see that the value
OF empty seats was fictitious. Lacking
sanction, a thriving business sprang up
Notwithstanding. conducted by those
who garnered in the free passes for
,rifne sum and sold them at fraction
of their boX Office value
Il was Joe LEBLANC. one of the swift
est and surest Of the hunters of the
Tree pass. who had the acumen TO see
he wastefulncss of operating this as a
guerilla business He began the or
sanized utilization Of this byproduct
Of the theatre, and much cash and dig
nity have since ACQUIRED to him thereby.
In the basement of Gray's Drug Store
ne now conducts a business in cut-rate
tickets that Yields more influence on
the theatre than all the drama societies
and critics and literat can ever hope
70 bring to bear. As far as the des-
t.nies of the theatre can be controlled
his business controls it.
He began by pointing out to few
managers some elementary facts.
Every manager was acquainted with
me depressing psychological effect of
hah-hlled house on actors and audi
ence. LEBLANC asked only to be al
owed to sell those seats left unsold at
he box Office. Whatever these seats
brought in could be counted pure
gain Even this reduced income might
'erve to keep the play alive little
onger. The length of its stay in New
FORK was very important to its sue
cess on the road. And this was Mr..
beolang's trump card a play that had
Narted badly might, by patiently
forcing its run with cut-ratc tickets,
gather momentum a. it went and come
n winner. Clear as the logic of
these arguments was. he could per-
Saade only few managers at first to
let him handle their unstable seats.
Joe LEBLANC started his business
twenty-five years ago in a little store
on Sixth Avenue. All the plays in New
YORK that are not selling out at their
box Offices are now listed on his ex-
change. And Mr.. LEBLANC is now
potent and porJentous figure at first
nights. He has proved over and over
again his power to make play. sue
eessful through that large, indecisive,
anclassified clientele Of his which asks
nights entertainment of him and
ooes not quarrel with what il gets be
cause it has got it for half price. His
judgment is a trihc moro valuable to
managers and producers than that of
me critics, because he has been known
% push plays into success that have
been unfayorably reviewed. while good
reviews do not always guarantee a box
'i'lce success.
Although all the plays in New York
are ifnDartially listed on his exchange,
Ar. LEBLANC has it in his power to
urge one play trfc more than an
other. There is no INSCRIPTIONS adj
'sntage in this. The helpless amuse-
ment seeker bcgs for advice at the