DRAMATIC “COMBINE.”

New Zealand Mail, Issue 1748, 6 September 1905, Page 23

DRAMATIC “COMBINE.”

MR EDWARDES’S AND AIR CTJRZ ON'S PLAN. - TO COMPETE WITH AMERICAN COMEDY PRODUCTIONS. A novel dramatic partnership promises to be the event of the theatrical "off” season in London this year. It is nothing less than the friendly combination of two well-known managers, Mr George Ed ward es and Mr Frank Curzon, and the joint production by tArem in the near future, not only of musical plays—as at the Prince of Wales's Theatre—but of comedy proper, elsewhere. In this development Mr George Edwardes, who has fo-r a long time considered the possibilities of success in "straight” comedy as well as in musical comedy, makes a distract dramatic departure. The arrangement, so Tar as it relates to the production of definite comedy plavs, is concerned with, a production yet to be determined upon, at a West-end theatre yet to be named. In regard to future musical productions? it will probably be found, when the details of this interesting arrangement have been finally settled. that Mr George Edwarde© will be associated with Mr Curzon in all musical productions at any theatres other than Daly's, the Gaiety, and the Prince of Wales.' There the control will remain as at present. The coming Strand and Criterion productions, with which Mr Curzon is solely and directly concerned, will not, however, come into this partnership plan. MR CURZON AND THE "TRUST/' Mr Frank Curzon, when seen by a “Morning Leader” representative in reference to the scheme, did not admit that the arrangement was the outcome of the rumoured extension of the American Dramatic Trust to Britain, although he agreed that it could be taken, so far, as a combination of two English managers in defence of English interests. '‘But English managers,” he said, "are not alarmed at the threats of this new American invasion. I am confident, for one thing, that the moat prominent members of the American trust do not want to come to this country. They recognise that the English theatrical manager, who at present sends them so many good plays, will be more inclined to send his plays in the future to those proprietors who are not in active competition with him in London. "It is a mistake, too, to suppose that we English managers opposed to competition. Dramatic tree trade is good for the stage. Let the American managers bring over as many good plays as they like. They will fill the bills at our theatres when we cannot fill them with home-made productions. But we -'poohpooh' the suggestion that American, managers are likely 16 corner all the London theatres, or al. the player©—or that they could do any good with them if they got them. They Avill never ba able to get a combination of that one essential to dramatic success—the public. AMERICAN'S "BEHIND THE TIMES!” "Another reason whj an American dramatic trust is mot likely to succeed dun. . Britain is that the American manager is hopelessly behind his English competitor in dramatic knowledge, and 20 years behind the times in completeness of stage production. Americans could never spare the time tq prepare plays with the thoroughness that is necessary to success on the English stage. They prepare their productions in a rough-and-ready way. English plays, on the other hand, are successful in the States because they are finished productions before they start.. "I think, personally, that the American managers who are ©aid to be opening up so many new theatres in this country are making a mistake. They would have done bettei to send their plays to London to be produced as EngTsh plays are produced in America—at ; an existing theatre, by arrangement with the local manager. "English actors and English managers,” said Mr Curzon, in conclusion, "are treated very well in America. We Ehglish managers therefore do not want to kick agairst American methods; but if we are- a hocked the American manager wil 1 , r.i course, find that we can kick back—and kick hard.'*