A THEATRICAL MANAGER ON THE MORALS OF THE STAGE.

Timaru Herald, Volume XLI, Issue 3281, 2 April 1885, Page 3

A THEATRICAL MANAGER ON THE MORALS OF THE STAGE.

(Home Paper.) AN INTERVIEW WITH MR JOHN HOLLIJJGSHEAD. Mr Eurnand'a recent article on the stage, m which one of the moat experienced burlesque writers of our time lays it down authoritatively that no woman,, not bred and born on the boards, can take to the theatrical profession without a certain loss of modesty and an almost inevitable sacrifice of her honor, has naturally created much sensation m theatrical and religious circles. We have already published a communication, or rather part of a communication, sent us by a correspondent signing himself ." An Old Puritan," who improbably only an extreme type of a great number of other good people who have been startled .by Mr Burnand's admissions. "Here you have," writes "An Old Puritan," "m the authentic writing of an emiuent playwriter, a glimpse behind the scenes, soon I hope to be republished for the warning of the unwary, under the title of ' Satan's Invisible World Displayed.' If Mr Burnan d be correct, all theatrical lessees, or those who make a fortune by dealing m nudities and spectacles purchased by the degradation of women, ought to be classed among the keepers of disorderly houses, and other procurers :who pander to the vices of the community. Can you contend after this that those responsible for such theatres ought not to be hanged m this world as they most certainly will be damned m the next ?" This and much more beside reaching us from time to time, we thought it might be instructive to ascertain at first hand what one of the maligned class had to say for his order, and we therefore despatched an interviewer to ascertain what were the views of Mr John Hollingshead, who has had a vast experience of the morals of the stage. The gist of his remarks was as follows : — "The Nudity Theatre? Yes, I am perfectly aware of our nickname. But I beg you to look round. My ladies wear costumes which your ' Old Puritan ' (who must be an anchorite or a monastic misogynist), if he could be induced to

accept a stall from me (wild horses wouldn't drag him), might say began too late and ended too soon. They may wear very short skirts. But, m reply, I beg to say that tho stage within proper bounds is the tit and proper place for the exhibition of physical beauty. Burlesques, les pieces, call them what you will, have been plnyed at this theatre for sixteen years. Mas the Lord Chamberlain ever called us over the coals ? Never. You talk to me of very short dresses and Bilk tights. But go to the stalls of any fashionable West-end audience and look at the decolletee women. My dresses may end rather early, their dresses certainly begin too late. Look at the same dresses. Often of almost transparent tissue, to say nothing of arms bare from the shoulder. The Lord Chamberlain allows the same license. It is only fair, tell your modest well-bred critic, to look m the auditorium as well as on the stage. Suggestive dialogue I Why it is puerile compared with the good old days when the Queen was still a playgoer, and had her box at the Adelphi. Wright, one of the best low comedians who ever trod the boards, would make the hair of a modem audience stand on end. His boldness and his coarseness were unsurpassed. His freedom of speech was only equalled by his freedom of action. Yet the Adelphi audiences roared at hia full-flavored jokes. Buckstone, too, m the old Haymarket days, was not remarkable for his delicacy. These two were the favorite theatres of the Queen and her Consort. Subjects were loyal m those days just as they are now, and applauded. You are too squeamish." PHYSICAL BEAUTY A SINE QUA NON. " 1 contend that no person, man or woman, has a right to enter the profession unless he, and particularly she, has physical beauty. I want m a woman a pretty face, a sympathetic voice, a lissom figure, a good presence. With a man it iAhe same. He should be handsome to succeed. A handsome jeuiie premier has a much larger income than one of Mr Gladstone's secretaries, and a livelier time, too. A Grecian nose, a well cut mouth, a nicely curled moustache, a pair of soft eyes (hazel for a choice), small feet and hands, hair color indifferent (red barred), but carefully brushed, five feet eight, unexceptionable tailor, and there you are. A fashionable jeune premier may rise to thirty pounds a week. Brains ? No consequence ; none whatever. Good manners much more valuable." " I have laugher! till the tears rolled down my cheeks at Mr Terry's drolleries ; Ml Toole would put a shrew m a good temper, so would Mr Penley, Mr Hill, or Mr Paulton, but do not consider them good types of physical beauty ?" " Ah, that is quite a different matter. A low comedian needs no physical charms, indeed, they would rather clog his progress m his profession. A snub nose and a wide mouth is often worth a fortune to a man. No ; a surpassing genius or a low comedian are exceptions to my rule." THE STAGE AS A CABEER FOR WOMEN. " My views upon the matter are quite simple. I am not responsible for the morals of my young ladies after they leave the theatre. While they are my servants and m my theatre they are under proper restrictions. Outside a sharp girl is quite able to take care of herself. A supper or a dinner does no harm. Many have married from my theatre, and married well. I hear that they make good wives. That is enough. Only the other day a young lady from the chorus, — no, not here — married a peer. Miss Fortescue's success may have made chorua ladies m general ambitious. It was a capital example. Why not ? They often possess more brains than the man who marries them. It makes me angry to hear the stage called a sink of iniquity as a calling for young women. Now let me put one or two points to you. I say, my experience is extensive There is no profession or business so easy to succeed m. Take the case of a young woman — not an accomplished young woman — if she can read and write, and is not afflicted with the h malady. Let us suppose she C a good appearance, has also ] a good voice, r Now C a good figure. * these qualifications for buccgss are possessed by thousands of young women. But when can they show them ? At home 1 No ; or only to a small circle. In a ballroom, with scores of competitors? How often do they go to a ball ? Once a week or once a month ? At a watering place for a few weeks ; I am taking the average middle-class young women, of courße. Now, let us see what a chance the stage gives. A appears every night— m a fashionable theatre of courae — before an audience of 600 or 700 people. In the course of fifty nights 30,000 people, including the pick of society, have seen her. But being only a raw recruit she is m the backrow, andneveropens her lips, you say ? In the course of a year, if she shows any ability, if she can sing a simple song, or say a few words without faltering, she is promoted. The chance comes always to those who wait. The chance is what every young woman regards as the most important event of her life — marriage. To the girl who waits, mind. The girl who yields — we'll say nothing about her, if you please. I have given you my line, and that is enough. Now sometimes a lady comes to me with her daughter whom she wishes to go on the stage. 'Well, my dear madame,' I say, 'your daughter cannot do better. But ' — and then I point out very plainly the dangers of the profession and its advantages. If madame is a sensible woman she addresses her daughter in' much my words when she leaves the theatre. Of course there are black sheep m every flock. As I have said before, the private character of a girl is none of my business ; her outward appearance and conduct is my affair. Pietists and 'Old Puritans' may talk as much as they will about stage morality, but surely girls are exposed to the same dangers m other businesses where men and women are employed together. Take the telegraph offices, or the great warehouses and shops m the West-end, where thousands of young men and women are thrown together. If women must compete m the labor market they must consent to accept the conditions of the competition. You certainly cannot expect to find pastoral simplicity or blushing innocence behind the scenes of a burlesque theatre. Do you find these admittedly charming qualities anywhere — even m a country village 1 Here we have seventy or eighty men and women working together every night, and you must expect to find a certain amount of freedom and laxity m such mixed company. .If there does happen to be too much noise or a slight infraction of order the stage. manager makes his report. Of course m the dressing-rooms it is different, and one does not interfere. And if a lively young lady winks at the stalls, — well, you can't put a padlock on a girl's eyelids you know. Some theatres are, as Mr Burnand says, more respectable than others. In a fashionable theatre, where comedy alone is played, a young girl would of course be leas exposed to danger than m a theatre where extravaganza was the simple form of entertainment. Has the social status of an aotor or an actress improved 1 In my opinion it is much the same now aa it was years ago. The doors of the best houses will always be open to some of the cleverer . and more distinguished members of the dramat'c profession, while those who have a blot on their 'scutcheon will naturally feed their social instincts m the drawing-rooms of 80. hemi»."

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