The Washington times., 1929-02-23
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Newspaper readers who follow
the fortunes Of the theater are
regaled each season with stories
concerning the rising costs in
scenery, lighting effects, novelties,
and costumes, that seem to be so
preponderatingly the chief pro-
ducts Of the musical comedy and
revue. It would seem that when
such tremendous expenditures are
entailed, producers who make the
Investment would have a ready
and easy market for the gorgeous
settings and bright hued, taste
fully patterned and expensive
gowns when the show folds its
tents and silently steals into Gains
storehouse, yet the contrary is
true.
A. 5000, 900 production is as worth
less the day after a show closes as
. $1OO, 900 production. What then,
you ask, happens to all the scenery
and costumes that simmer so
gayly under variegated spotlights
when the producer rings down the
last curtain?
The answer is elusive since no
one has compiled complete obit-
uary of Broadway scenery that has
passed into the realm where all
bad plays, and good ones, too
eventually go when they no longer
attract patronage either here or on
the road. Big producers undoubt-
edIy utilize sets, bits Of properties,
and other essentials in shows born
months or seasons later, and in
that category falls George White
who makes a business of bringing
. new edition of Scandals" to
town from year to year.
Producer White has store
house Of his own for many rea-
sons. One, Of course, to store his
productions over the summer
months and, also, when they are
finally dismantled. But secondly,
and of even greater importance, Is
the fact that he usually has so
much scenery left over when he IS
through pruning new Scandals"
that he must, because Of economy
find a place to carefully house new
sets, back drops and other equip
ment for subsequent use. When
Mr., White sets about doing a
scandals" he usually finishes with
enough material and equipment for
two shows. That which is dis
carded, therefore, must be saved
for future utilization. Some or
this is eventually used in perhaps
q modified form, but the great
bulk is usually junked along With
other scenic investiture either out
dated or because a buy is not in
the offing.
The usual procedure, according
to Mr.. White, is to sell the show
intact, material and all, for a set
sum after the production has
played the chief cities of the coun-
try under his management. A
third-rate producer, as a general
rule, avails himself OF this at bar
gain prices and, with it gets the
privilege to call the show George
Whites Scandals Mr.. White
has found, however, this plan IS
not the best in the world, since
playgoers in the smaller towns
labor under the delusion they are
going to see the George White
stars thrown in and are, therefore,
rude1y disappointed when they find
a third or fourth rate company in
the roles made famous by his we'll
known actors and actresses. He
has, accordingly, deprived himself
of this revenue and will have to
find other ways of disposing of his
Scandals" intact.
Electrical equipment, of course,
can nearly always be saved.
Scenery is a, more difficult thing.
This is naturally patterned to fit
special needs, and when these
needs disappear the scenery is
virtually worthless. Occasionally
settings can be repainted or car
pentered to fit other requirements.
Some times they find a ready buy
with stock arrangements who
change their plays weekly and,
therefore, while needing a wealth
Of scenery, are not so discriminat.
ing. Burlesque is the greatest out.
let for old scenery.
All in all, asserts Mr.. White, if
q producer gets five to ten thou
sand dollars for a production that
cost originally 100000, he can
consider himself well off. Which
Is an illuminating example of why
producing is gamble only for the
stoutest hearts.