THE THEATRE IN ENGLAND

New Zealand Mail, Issue 1748, 6 September 1905, Page 48

THE THEATRE IN ENGLAND

MR GEORGE EDWARDES DISCUSSES ITS TROUBLES.

The survey of the theatrical season of 1904-1905, and recent statements that have been made concerning the operations of the American Theatrical has attracted unusual attention to the present condition of the theatre in England. Speaking of this condition to a representative of the London “Daily Mail,” Mr George Edwardes said : “I do not think the theatres have suffered more during the past twelve months than any other business or profession. Good and bad times alternate, but I do not think that the present depression is exceptionally bad. The attendance in the cheaper parts of the theatres has fallen off, but that was due to the competition in the winter r 4 hd spring of new music-halls, which affected the theatres. Then the advent of summer as usual has affected business adversely. “I will sav, however, that I believe the days of long runs are over. Runs of two years and upwards for good musical plays like,, say ‘The Geisha,’ are, I think, finished. The long runs are being killed by the increased number of new attractions and other causes. “High salaries, high rents, and the excessive charge© made by costumiers, all weigh down the producers and render the task of tiding over the dull months a hazardous, in some cases an impossible, enterprise. “With regard to artistes, I will not argue now the point whether I make reputations ior my comedians or they make them themselves. I certainly engage the authors, the composers, the scenic artists, the costumiers; I conduct the rehearsals, suggest a great deal, 'and provide everything possible to make the players prominent and effective. Yet they in some instances think the successes are due entirely to,jdieir own efforts. “I have often had the most extraordinary propositions set before me by artistes. It has been suggested that I should pay from £IOO to <£2oo a week to artistes with whom I could not make money when I was paying them .£SO a week. I have net the slightest doubt that artistes, or rather a few of them, are largely responsible for the changes that are certain to affect their profession.

“London managers have made it their policy to present plays with all-round good casts. The American manager comes in now to bid for our best people, tries to get them away, and establish success by purchase. In America the Trust was established by grabbing the theatres. In England, American managers hope to create a monopoly by buying the artistes we have made.

“As far as I am concerned this method must fail, as at all my theatres clever young people are always to be found. “America doe© not offer the great field for theatrical speculation that many people believe. I have sent plays there for years, and I will give you two recent examples of what money is to be made by such ventures. “Two musical plays that were spoken of as two of the greatest successes produced in America were “The Girl from Kay’s’ and ‘The School Girl.’ In the former I gave Mr Charles Frqhman half my interest to manage it in America; he was my partner in the production of the latter in England, and so shared the- American rights. Well, ‘The Girl from Kay’s,’ which ran from October 24, 1903 (except in the summer of 1804), until April 15 last, in America, only made about <£4ooo. ‘The School Girl,’ which ran from September last year to April this year only cleared about <£lso0 —sums that are a long way below the earnings of a principal in musical comedy. “Now with regard to the Trust, which we are told will attempt to capture the English drama. Personally, I believe that the majority of our managers will stand out against it. While they feel as they do now we are safe. There is no combination that I know of in London between managers. I have entered into none.

“The Trust will work its way to capture London by the artistes. I do not think they will succeed. Messrs Klaw and Erlanger, at all events, two members of the Trust, have stated to me that they do not purpose taking any London theatre.”