Life — June 7, 1900 — page 17: what you’re looking at

Machine-transcribed from the original scan — historical spelling and the odd misread are preserved.

Maud and the Judge. AUD MULLER, on a summer's day, Scorched along on the broad highway. The Judge steamed By, and said: “ My dear, ‘There's room for you; come jump in here. My au-to-mo-bile’s built for two— For me, and for a peach like you.” But as he spoke, his auto reared, Blew up, and lo! it disappeared. And Maud said, as she watched his plight, “Thanks, Judge. You're really out of sight.” there are some cities where they cannot secure & first-class theatre. ° ° ° What the Trust is doing for the theatres: Q.: Has it operated, in any case that has come under your notice, to the loss or dis- advantage of theatres not owned or controlled by this Trust ? Av: Yes, = des- Dias = Mamma Fly: WILLIE, COME RIGHT OUT OF THAT AT ONCE. DIDN'T I TELL YOU NOT TO GO IN SWIMMING 80 EARLY? Q.: Ithas injured them? 3 It has lojured them 1 ablé to find companies to play, and they have either had to go to work and take in anything in order to keep the theatre open, of else close own The Trust controls the best talent of the ‘Yes. Q.: And in order to secure that, the owners of theatres throuzhout the country have to make terms with the Trust or go without the best talent? A.: The theatres of the country that book through the Trust. Whenever they do not book through the Trust and give up a certain percentage, why, they do not get the Trust companies. ° ° ° What the Trust is doing for actors und the art of acting: Q.: Are not the prominent actors and actresses of the coun- try compelled to appear in the theatres owned by this com- Dination in certain cases, or go without an audience? A.? If they won't book in New York, then they will not allow them to took in any thea- tres that they control through the United States. .2 And they practically colitfol the theatrical talent of the country? A: Yea. sn Gey TH ie they compel them to work for ein ‘They compel them to perform in their 1. What is the sentiment generally enter- tained by them—that ie, leru—with respect eatrical Syndicate ? Az They think that itis doing a great deal of injury artistically. .2 Are there theatres which are owned by In- dividuals—the terms made by judividuals with each company? ‘A.; Well, you see, to-day throngh the Theatri- cal Syndicate there are a number of schools for acting in New York, and indirectly they are con- nected with the Frohman houses, and each year there 1s a certain number of men and women that juate from these echools that are given posi- tions with companies. ‘These people get work and take the positions at a salary of $20 a week, whero originally the act has lent the years of his life to the stady would get $75 to $100 a week ; thats, a young woman, of & young man would, simply to get Into the business, work for $2) @ week and lens, And that is why tre really egiti- mate poopie ‘on the stage hold no kindly Teellngs toward these companics that have got people through these schools of acting for very low wager, Qe (By Mr. Mantle.) Is there no question of merit involved ? A.: Itisa question of dollars and cents. ‘They are not cnly controlling the theatres, they are now controlling the production o} reeees wif actors and A. And the tendency of it §s rather Tt has a tendency to degrade the theatre. ¥ downward f Yes.