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About The Sunday Oregonian. (Portland, Ore.) 1881-current | View Entire Issue (March 26, 1905)
THE SUinXiT OKEGOmAt PORTLAND, MABOff 26, .1905.- THEATRICAL TRUST BREAKS Marc Klaw Writes In Defense of Famous Syndicate That Has Put 1&e. Theatrical. Art on. SIGNED ARTICLE BY THEATEICAI. ilAGXATE. Tor the flt time since the begin ning of lhe attack on the so-called theatrical trust. Hare Xlaw has broken the -silence -he has maintained regarding the charges made against the worklpgs of the organization In different periodicals and. by several 4 authors. ' . The Oregohlanv prints herewith, an authorized article submitted tor. pub lication by Mr. Klaw himself; In whl.cS the noted' manager discusses la 'detail the charges made and contends "that the ffecl6f the organization has been lo promote the -welfare of thetheater ' fn the United States and also U)'le vate dramatic art. Br Marc Klaw. ,NE, bright Winter's day in February, lS96,at an accidental luncheon in gentlemen composing "what is known as the "Theatrical Syndicate" were discuss ing the .business conditions of the thea ters in New York and throughout the countryXollowlngr three years of depres sion, occasioned by the silver panic of 13, at that lime Klaw & Erlanger, two of the men present, had carried on successfully what is known in theatricals as a "book ing agency," at 25 West Thirtieth street. Mr. Charles Frohman, ten blocks farther up on Broadway, was representing a chain of theaters extending "Westward, with headquarters in the Empire Theater building. .Messrs. Nixon & Zimmerman were the leading managers of Philadel phia, operating nearly all the first-class houses In that city. Mr. Al Hayman was the owner of the Empire Theater build ing. A business alliance was proposed between the sir men here mentioned by which the booking of attractions could be centered In one establishment: and before I go any further I should like to explain what a "booking agency' 'is, and to. do sd . I will have to go back some years to show the condition of the theater in the "United States before these comprehensive booking agencies were established. Less than 20 years ago a formidable percentage of the business of the theater was conducted on the sidewalk, in hotel offices, cafes, and, I regret to say, in bar rooms. In those days managers of thea ters far and near would eome to New York after their seasons were over, usual ly in June, July and August and inau gurate a catch-as-catch-can meeting with tfle mangers of what are called troupes or combinations. It is difficult within the limits of a newspaper article to get the technicalities of the theatrical business intelligently before the reader, but the lo cal or theater manager is the man who leases cr operates a theater, which, it must be kept in mind. Is an entirely sep arate and distinct individual from the manage of a trax-ellug company, or what is "sometimes known as a' "produc ing manager." The theater manager in those days had an expensive establishment on his hands. "When his season was over he usually found his following season's time unfilled, with tno exception of a few weeks booked in advance, by some astute traveling manager, who' probably was holding the same time in several theaters until he could ee-saw these local managers into giving him terms, upon..-which, .the- local managers could not live. This was the necessity which created the booking agen cies. IThe b06klng agent acts as the rep resentative of these theater managers for a payment agreed upon between them, under which agreement the agent keeps their vacant time on his books in New York and deals with the managers of the' traveling companies to fill that time, and notwithstanding all assertions to the con trary, he takes nothing from the control of the local manager so far as bookings are concerned, because after all is said and done he Is merely the agent of the local manager and cannot make con tracts except with the approval of the local manager. The time and terms are always submitted to the local manager before contracts are signed. Benefits of Syndicate. Nov, thU arrangement Immediately pro duced the following distinct benefits for the business of the theater: First It made the management of the atrical business generally a dignified call ing Instead of the haphazard plan con ducted upon, the streets and in cafes. Second It prevented tho cunning travel ing" manager on the one hand from book ing thb same date in two cities, while on the "other hand the local manager could not arbitrarily throw out a date after it had been booked, as was too often the case, because once the booking agent es tablished the date and contracts were signed there was no such thing as de stroying the evidence of an agreement. Third It made it possible. In the event of disaster by conflagration, epidemic or any other cause, to rearrange the routes of companies so that they would not have to be idle, thus preventing thousands of employes, including artists, mechanics, transfer men and others from being thrown out of temporary employment and has demonstrated its efficacy in this re gard many times since, notably during the. yellow ever period in the South, when rigid quarantines were suddenly established, entailing tho rearrangement of many tours. Fourth It compelled the carrying out by managers of their tours as booked, thus giving the artists and artisans em ployed in theatrical companies continuous employment, which was almost impossi ble under the old regime. Fifth It prevented useless and ruinous railroading by companies of the same cal iber, or of the same kind, in an endeavor to avoid each other, or to unnecessarily pit themselves against each other In some given point that was not able to support two attractions of the same kind or of equal strength. Sixth It was a distinct betterment of the profession as well as the business of the theater, and I want to malfe myself clear that there Is a profession as well as a business In theatricals. These two elements are as distinct, yet as necessary to each other, as the busi ness department and the editorial depart ment of a newspaper. The profession was bettered hi this way. that Irresponsible manager?, either local or traveling, could not spread false reports about their re ceipts or about the business they were do ing, as the "booking agents kept In close touch with them. As a consequence, art ists were surer of their engagements, surer of the payment of salaries and surer of an avoidance of the many difficulties and annoyances which ordinarily Inter fered with their stage work. A manager who showed himself irresponsible and un reliable in his contracts and agreements could not carry his schemes very far without detection. Large Booking Agency. The formation of the syndicate meant nothing more nor less than the combining of two booking agencies into one, and the syndicate lias never been anything more nor less than a large booking agency. Its Influence upon the profession of the the ater (and by this I mean the artistic side of the theater) has been neutral because it has nothing to do with that end of the theater. Plays and actors continue to be good, bad or indifferent. Just as they al ways have been and always will be. That the Individual members of the syndicate continue tA be the producers of plays as they were before its organization augurs nothing except that they should bo held Individually responsible for the merits or ' .1, r. vTWO MEN AT THE MARC KLAW. demerits of their , productions, but they should not be held as a syndicate, because the. combination, never in the whole his tory of the syndicate, produced but a sin gle play. And it may surprise my readers to know that in the City of New York the syndicate absolutely controls only one theater, namely, the Knickerbocker. Mr. Charles Frohman Is the lessee of certain theaters in New York, and Messrs. Klaw & Erlanger manage some theaters in New York, and Frohman and Klaw & Erlanger together are Interested in some theaters, but thse are not "Syndicate ven tures. The conduct of the Empire The ater, the Hudson Theater and the Lyceum Theater are- distinctly and independently in the hands of CharlesTand Daniel Froh man, as the Liberty Theater, New Am sterdam and New York theaters are In the hands of Klaw & Erlanger. The lat ter firm knows as little about Mr. Froh mans' plans and intentions until they are practically complete each season as he knows about theirs. Time for Mr. Froh man and Klaw & Erlanger Is booked ex actly as anybody else's Is. Klaw & Erlanger as producers and Charles Frohman as a producer are -dlf-" ferent entitles absolutely from the syndi cate of which they are members. Business and Art. . -One or two disgruntled managers -who. have not been able to use the Syndicate exactly as they pleased for tlclr "own. purposes, and who could not get all-the time and all the terms they demanded to the detriment of every other attraction, have been crying that the business of the theater was an art. The performances In. a theater may be allied to art or may bo artistic, but the business conduct of a theater is and- must be commercial, . -Their Ing the pictures of the dramatist or.jconv poser under the proper lights and the most attractive auspices, just as the pic ture dealer has a business house in which he displays the best efforts of the paint ers and Illustrators. It Is theirs to alnt and Illustrate; his to display the pictures to the public The accusation that the syndicate gets a percentage of the gross receipts of .the aters Is a He which has been so often reiterated that it Is hardly worth denying. Unfortunately, one or two theatrical nien who have eeen fit to attack the syndi cate's methods have freely Indulged in personalities or conquctted with perjury to maintain their arguments). One man In a magazine article recently announced that the syndicate persecuted Henrietta Crosman because she produced a play upon the same theme as one which Miss Ada Rehan was then playing in New York City under the management of Klaw & Erlanger. The fact is that Miss Cros man was booked by Klaw & Erlanger In that very play In the City of New York, and her contract bears the stamp of Klaw & Erlanger'o office. Perhaps Mr. Camp bell, Miss Crosman's manager, from whose eyes the independent cataract has now been removed, may testify to this. This same man, on the opening night of Miss Crosman' in New York, a few years later, told some newspaper men of the metropolis with ill-concealed hint and in nuendoes that some one had cut the ropes of his scenery, thus delaying the enter tainment that evening, and in an abnor mal bid for martyrdom, endeavored to leave the impression that some enemies had done this. "When the Mechanics' Union took the matter up and Investi gated it. and It was found that no ropes of any kind had been cut. he quickly re ceded from the position and wrote them a letter copy of which I possess In which ho admitted that nothing of the kind hap pened and denied that he had ever made such an accusation. Yet he never denied tho accusation when It appeared In print in a half dozen newspapers. Dramatic Criticism. As for the syndicate's attitude toward dramatic -criticism, it has none can have none, because, as I have stated before, lfproduces no plays. But to ac cuse managers of an attempt to "stifle and muzzle" dramatic criticism Is man ifestly absurd. Any man of experience knows that the most laudatory criti cism cannot save a bad play from fail ure. Ills, one desire, therefore, both as a business man and as one who wishes to deal fairly with the public. Is to keep1 the standard of dramatic. criticism on the highest level. It Is to his best in terests to have It absolutely Impartial, absolutely Just and always on the most dignified plane. Only those news paper writers who have repeatedly and flagrantly departed from this standard have been requested to absent them selves by the managers In question from their theaters. Assuredly tnere is Justification In protesting against news paper writers who bitterly and scan dalously attack productions, not In tho Interests of their readers, but Jn that of other managers; or men who so ridi cule the women In a performance as to render them so hysterical and help less from nervousness that they are either entirely, unable to appear or appear only at a great disadvantage; or men who Judge a performance, not by its merits or demerits, but by the religious faith or nationality of a man ager. The men who are now barred from certain theaters in New York are barred because they have many times had the bad taste to commit specifically the abox'e breaches of decorum, and for no other reason. In each case,' save one, there was no attempt to discrim inate against the newspaper, and It was Informed that any other represen tative except the men so offending would be admitted. It was pointed out that the dramatic critic, like Caesar's wife, should be above suspicion. And It was hoped that the newspaper would co-operate with managers in keeping criticism upon this high standard. Does this stem an attempt at muzzling dra matic criticism? One would" think that delicacy would have pVompted the writ HEAD OF THE'GREAT THEATRICAL SYNDICATE ABRAHAM ers whose methods and character were question to be the first to ask that others be assigned to criticise the per formances in theaters conducted by men who challenged their good faith. How long would a Judge persist In trying a case after his motives were impugned? Not one of them has over done so. Each one of these writers has always tried to shield himself by declaring an attempt was made to muzzle dramatic criticism with as much reason as a physician accused of malpractice might defend himself by declaring his accus ers were trying to abolish the medical profession. Some of the adherents of these writ ers have charged that while a manager was permitted to protect himself and the people lie employs from personal assaults there was no hope for the fu ture of. the American drama. As a mat ter of fact. In no country In the world Is. the critic so cordially received as he is in America. Recently in England a writer was found guilty of libel and sentenced to pay a heavy fine for pro nouncing a. certain play a failure. In Germany and France, the two coun trles'that have produced the best-modern plays the law Is even more strict. No criticism but the most dignified Is .tolerated. -Remember this, and theji re member that in America the critic is -always cordially, welcome, no matter how 'severe his critique may be If he but extends tho courtesy of omitting personal abuse anil of - giving the per formance dignified and impartial re view. Ticket Speculation Fought. -xve'have been waiting for eight years 'jfoif an-intelligent attack upon the eyn'dl-. fonjUr.one "based upon truthful premises. I do not mean by this to accuse every writer of willful misrepresentation. Per- fhapo ignorance would be a more charita ble word. One very intelligent writer In a weekly magazine has lately had some thing to say about high prices and hotel premiums on theater tickets, and this, too, had been laid at the door of the syndicate. But the fact xemalre that the late Augustln Daly, who was an absolutely Independent, man ager, was the first one to raise prices In New "York to ?2. and that the Knicker bocker, the only syndicate -theater in New York, has spent more money in endeavor ing to break up the ticket speculators than all the other theaters In New York combined. So far as tho actors and act resses are concerned, the syndicate has not disturbed their relations to the pro fession in the slightest except to, endeavor CHARGES AGAINST THEATRICAL. TRUST. That It has raised prices. That it has cornered actors and actresses. That it has gained a monopoly of playhouses, attempting to shut Inde pendent managers out of cities. That it has ruined several Inde pendent managers. . That -it compels actors and actresses to act for it alone and on its own terms. That It compels playwrights to write for It alone, accepts what it pleases, and on Its own terms. That when an Independent manager places a popular play on the stage the trust 'parallels' It with a similar pro duction. That so attraction will be booked unless It guarantees not to play in aa opposition house. That houses are secured in smaller cities, causing Independents to lose money by Jumping great distances. That an attempt has been made by the trust to subdue criticism and that adverse critics aro not allowed in trust houses. That noteworthy attractions are not allowed to. play In cities that attempt to patronise Independent houses and fight the trust- to give them an opportunity to earn better salaries and have more legitimate man-r-ement. The theater In the United States Is still a private enterprise, lack ing subsidies and endowments of any kind which would make It a public Institution, and so long as this condition exists Its business conduct must be as carefully guarded and guided as any other commer cial enterprise; and I want no better authority .from the art side than Sir Henry Irving and Mr. Richard Mansfield to sus tain this point. Sir Charles "Wyndham was moved to say recently that "the theater was never In better hands." Clashing of Dates Eliminated. The clashing of dates which was so ruinous to managers, both local and trav eling, has been practically eliminated un der the arrangements effected by the the atrical syndicate. In spite of all twaddle to tho contrary, audiences In interior points are witnessing better attractions than were ever sent them before, Land lords and owners of theaters aro getting better rentals, and business obligations of the theater are being met, while the Town Marshal and Deputy Sheriffs are enjoying long-wanted holidays so far as theaters are concerned. I say It without the .slight est fear of successful contradiction that the general tendency of theatricals lias been one of wide improvement artistically and financially. At the formation of tha syndicate not a single theater except those owned" or leased at the time of its formation by the gentlemen forming the pvndlcate was taken Into th'a!Han.o .n every other one that came Into It cams SILENCE a Business Basis UNCOCK EKLAXGER. Into it voluntarily. The best proof of its efficiency lies In the feet that tho con tracts have been twice renewed and not a single client has ever left. In several in stances where local managers have died they have left Instructions, by will or otn erwlsi, to their administrators to continue the arrangement, and several widows In the United States can testify to the se curity of theatrical Investment, for the first time In half a century Supply and Demand. In an article in the Cosmopolitan of De cember I used the following language: "An attempt Is made now and then to, draw a parallel between the theater and, for 'example, the railroad, as an illus tration of public Institutions. There is this difference; between them:- The rail road takes up the public, highway, which Is yours and mine and everybody's- The theater, on the other hand, does not take up one inch that it does not pay for and In most cases it pays twice as much as anybody else would pay for the same .thing. In America there arc no Governmental subsidies for theaters. Pri vate capital has built every playhouse In the land. "The theater Is not. primarily an edu cator of the public. Many good folk think it Is, but this Is not so- It Is not so because there' hasnTf. been any demand by the public that ft should be educated. Let the demand once become apparent and the desired response wlir Immediately follow. The theater Is governed by the rules and observances -of all other com mercial enterprises. Jt Is not out to dictate to public tastelf. is out to satisfy the public dcmandWhilfr cvjeri -such a purely business iunerstandlrig;'tniust be hedged about with tho 'essential sug gestions of artisUc&utrement,rdt;'de not Dcuevc mat tne-j)UDUc oemanas or. us that we give over our commercialism.- Moreover.. the public "would have no such .right. "What the public has the right to ask of a manager is that he shall give it good, clean, decent -entertainment of a wholesome sor,t. That Is as far as the public should go. And It is the duty of the manager' to label his wares, hon estly arid clearly, that they may not be mistaken. Just as It Is the obligation of every other merchant to- display Indica tions of jthe character of the contents of his establishment." Order Out of Chaos. There Is no business In the world so elusive as the theatrical, and it was high time that something like the forma tion of tho syndicate was undertaken to rescue the promoters of theatrical en terprise from the hazards of so perilous a business. The syndicate cannot ever hope to , shape public sentiment. . and no. one else can. Nor do I believe the stage can. I believe public sentiment shapes the course of the stage: The stage, at least In America, has grown cleaner and better constantly. In closing this article, which I have written in great haste, under a prom ise wrung from me at an Inopportune moment, I cannot do better than to quote again from an article on: the same subject written by me in the Cosmopol itan: "The theatrical syndicate has brought order out of chaos,, legitimate profit out of ruinous rivalry. Under Its operations the actor has received a higher salary than was ever his. the producing man ager has been assured a better percent age on his investment, the local manager has. won the success which comes from the "booking of accepted metropolitan fa vorites. I know of no one. generally speaking, who has been worked an In Jury by the commercialization of the stage In America. Practfcally every first-class theatrical manager is now a member of it,' and neverln- the history of theatricals have they all -been so pros perous." ' I. STGELAND. Anna Held ils In London. Joseph Jefferson Is rapidly recovering his health at Palm Beach, Fl a. . " " J - The Booth Tarklngton play, 'The Gentler man From Indiana," seems to have fallen Ben Greet and his company, will, .open's three weeks' engagement at the Studehaker? Chicago, on April 3. The house employes of the Marquam have organized a baseball team and are prepared to meet all comers. "To what do you attribute your present popularity?" Bernard-Shaw was asked. 'To my merits." was the -brief-answer. Last week's Dramatic Mirror prlnteda handsome likeness of Rose Eytinge and an appreciative notice of her ability, as a dra matic teacher. James TCeane, the well-known young ro-; mantle actor, will appear at the Grand this week In a tabloid version of "Dr. 'Jekyll and Mr. Hyde." 1 - A large double-column portrait " ot George Alison, now leading man at the Bush Tem ple In Chicago, appears la the lastinumber of the Billboard. ' a Maxlne Elliott has been prohibited by the Common Council of Boston from using the American flag carelessly in one of the scenes of "Her Own "Way." During the Summer "Trilby" will be re vived in Chicago with the original cast, in cluding Virginia Harned. Wilton Lackaye and BuVr Mcintosh. Virginia Harned is to have a new play next season by Henry Arthur Jones. The actress will offer "The lady Shore" at the Hudson Theater. New York, next week. This department Is In receipt of a- letter from Mr. Cordray announcing that he will soon return to Portland will re-enter,- the theatrical field stronger than ever. .He Is enthusiastic In his praise of some of the attractions which he has seen curiae Ms visit to New Torlc, particularly Mrs. Flake's "Leah Kleschaa." He Is renewing" many old acquaintances and altogether having the time ot .his life. Vs- . At the conclusion of Miss Lulu Glasera tour In "A Madcap Princess." In May. she wfll 'sail .for Bnrope for an extended vaca tion. Most of It will be spent near Aosta. tho romantic little -city In the northern part of Italy, situated at the fcot of the Alp. Channlng Pollock, a press agent who oftea unearths interesting statistics of the stager contributes tho Information, that between 1S74. and 1S3S Miss Ada Rehan played ICS roles. . They ranged from hilarious farce and sensational melodrama to the loftiest ' types ot womanhood in the classics. . Charles Frohman. who Is In London, de clares his Intention to take Seymour Hicks and KUallne Terrlis to America for & sea son, where thep will be supported by the best musical comedy company tba can be secured. The manager .will Introduce "Leah Kleschna" to London about Easter. He has another comedy from the pen of J. M. Barrfe. la his last letter from Parts, Augustus Thomas advises Klrke La Shelle that he has completed the detailed scenario of the new play he Is writing for Lawrance D'Or says use next season, and that the first act is finished, dialogue and alU The locale of tHe play will be Washington and D'Orsay will appear as a member ot the British lega tion. This Is the last season for "The Earl of Pawtucket." "Every year the drawing-room of the stage approaches nearer to the drawing-room of society," said Miss Ellis Jeffreys a few days -ago. "The manners and the etiquette now seen In stage drawing-rooms are nearly as correct as those you will find In the drawing-rooms of the best people. Surely that Is a good sign. It means the passing ot the rowdy and vulgar stage lady and gentle man." Ada Rehan will conclude her season at the end of March and In April will sail for England, where she Is to have an Interview with George Bernard Shaw in reference to her production ot Captain Brassbpund's "Conversion," and will return to this coun try late In September to resume' her tour under direction of the Shuberts. When abroad during the hot months Miss Rehan generally resides at Stratford-on-Avon. where she has a cottage. John F. Cordray, long prominent In amusement enterprises on the Pacific Coast, with headquarters for-several years past at Portland, Qr.. arrived In New York last week for a Ijisurely visit. Mr. Cordray has at least temporarily disposed of his Port land theatrical Interests because pf the un certainty of theater matters In that local ity. "There is a veritable craze on the Coast for vaudeville and kindred amuse ments," said he to the Mirror, "and I am going to keep out of the, excitement for the prerent-' EMPIRE THEATER Geo. L. Baker, Resident Mgr. Use Phone Main 117 Engagement Extended Last "Per formances Matinee Today and Toalght Tremendous Success Special New Tork Production of The Moonshiner's Daughter New Specialty Features Today (Sunday) Matinee and Night. PRICES Matinee . - IOc, I5c, 25c Evening - I5c, 25c, 35c, 50c a (((teei I GRA ND I ; Week of y-1 i I MARCH I J SUNDAY CONTINUOUS SHOW. J r .Superb feature In addition to the i regular bill. . James Keane - - In "Dr. Jekyll and Mr. Hyde." Powers and Lawrence , Amusing playlet; Ted E. Bdx. .New songs nightly. The -LocadoTs " Heavy-weight "bafanceri. Deely and Shean Black-face- duo. Mr. A!f Bonner "Sweetest Girl In Dixie." Grandiscope President's Oath of Office. ' Evening prices Lower floor. 10c and 20c c Matinees (except Sundays and holidays), 10c Box seats. 25c FIRST READING By ROSE EYTINGE At Parsons Half, Thursday, March 30, 2.45 P. M. Selections from Shakespeare. SEASON lSOSrlSHM. EMMA E A IVIES GRJCND CONCEItT TOUR. Management HENRY WOLFSOHX. A'ew Tort ' i : : : JS- .- -r - m MARQUAM GRAND THEATER Monday Evening, "A -HEARTY LAUGH SAVES A DOCTOR'S BILL." "TrAT ODD FELLOW" MR. HARRY BERESFORD Direction of J. J. COLEMAN A CONTINUOUS LAUOH" IN "OUR NEW IAN" BY CHAS. T. VINCENT. SEATS NOW I SELLING AS WHOLESOME A SPECIFIC FOR THE BLUES UNADULTERATED, SIDE-SPLITTING HUMOR miCES Lower Floor, except last 3 rows, 91.00; lower floor, last, 3 ram, 75c. Balcony, first 8 rows, 75c; bal cony, last 0 rows, 50c. Gallery, 25c and 35c. Boxes axd Loses, $7.50. MARQUAM GRAND Twn?TuersdCa7KMarch 28, 1905 Return of the Favorites after a Triumphal Tour of Australia, China, Japan and the Philippine Islands. POLLARD'S OPERA INCLUDING DAPHNE POLLARD, AND THE FAMOUS REPERTOIRE FOR TUESDAY, WEDNESDAY, THURS. NIGHTS March SS, 20 nad 30. The Belle of New York SATURDAY MATINEE, APRIL 1 H. M. S. PINAFORE PRICKS IflsktrParquet, 75c 5 Parquet Circle, 50c. First six rows Bal cony, 30c; balance balcony, 35c Batire Gallery, 25c Slatlaee Prices, 25c and 50c. BRING THE CHILDREN. SEATS COLUMBIA THEATER Fourteenth and Washington Streets. COLUMBIA STOCK COMPANY LAST TWO PERFORMANCES OF MARIE CORELLI'S BEAUTIFUL LOVE PLAY THELMA Matinee Today and Tonight STARTING MONDAY NIGHT, MARCH 27 THE COLUMBIA STOCK, COMPANY IN A CONTENTED WOMAN A brllHnnt'satlre on Ameclcan politics by Charles Hoyt Monday Nicht Ad. Men's Night Weanesdny Night Elks' Night Resnilar Slntlaees, Saturday and Snaday. . Evening - .....'500, 35c, 25c, 15c Matinees v- 25c. 15c, 10c Down town box office open'all day, 327 Morrison street, Dolly Varden Candy Shop. Phone Main 110. Evening at Theater, Main 311. Star Theater Wa s h i n g to n. WEEK COMMENCING MARCH 27 t S SHE INK Saperb Acrobatic Marvels Burns & Washburn New York Singing Due Claudms Kisg ef Banjo The Projectoscope ShewlHg Eastcra Navel ties 'SJI-J-....J..... rngmmmmg SEINOR RICARDO RUIZ: Spanish Coscert Violinist Prices Orchestra, 20c; Balcony, 10c. Matinees (except Sundays sad holidays) Ic te any part of the hoase. CsatlnnaHs 'p erf em- aace Sunday fran 2:30 te II P. M. "I saould sot think such c. prominent aiaa would care to hare, a cheap cigar named after hlaa." "Wfiy not? He likes to have his" ne. la verjr one's mouth." Town and Caaatry-. piXGLE. Rw!!ri Mmgir ; rmi mm Ms March 27, 1905 AS GOOD WEATHER." , J THEATER W.T. PANQLE, Resident Manager. Phono Main 68. LILLIPUTIAN COMPANY TEDDIE McNAMARA POLLARD TWINS TUB FIRST WEEK: FRIDAY AND SATURDAY NIGHTS March 31 aa April 1. . THE GEISHA NOW SELLING for FIRST WEEK" FAIM I LY--8 : The IMarvers Colored Comediaas Par mf Excellence - Maude Carter The "Whiew Roscoe Arbuckle SlaglRg Geed-bye.SIs" ' His Best Girl Good-bye,, darliar. I kaow" everybody that sees you- up la Malae will think you are a .perfect dearly Amateur ' Hunter That would bo Just my luck. I'si -afraid. SalUmora .Atr)oriaa. - - it 5,