Part 50

The best artist managers or agents know in advance what is being planned for the coming theatrical season. They are in close contact with the very high-ups in the theatrical world, men whose contracts you hope to sign on the dotted line soon. A good agent may save you several years' time in advancing to a stellar position. He knows the value of publicity, which often is half the battle in getting yourself before the public. You must have publicity, whether or not you secure a representative to attend to it for you. Interesting newsy stories about you, with effective art studies of yourself in costume accompanying them, are gladly accepted by many newspapers and magazines. The rotogravure sections of Sunday papers contain many pictures of theatrical folks. A beautiful picture will usually carry a story, and you are wise to get a few good ones rather than many cheap prints. Every first-class theatre has its own press agent, and every production of any size its own press representative. Both are glad to coöperate with you if you have real ability, and help you with the preparation of your stories and photographs and getting them into the daily newspaper. There are also many publicity concerns who make it a business to keep your name and picture in the public eye at a moderate charge. But you must be able to make good first. Neither publicity nor anything else will avail to establish a permanent name for you unless you are prepared to deliver the goods. Duds and dumb ones never make a big noise in the world. There is no star name awaiting the inferior person in this profession. All the front-page publicity in christendom won't do the trick if you haven't back of you real talent and something the public is clamoring for. And you cannot hope to fool the wary producer by any false representation or exaggerated claims.

You are not wasting your time while on the way to the bigger things. Seven years may seem a long time to wait, but you are not starving on the way, and you are really not "waiting" at all. You start with a reasonable salary that advances from year to year and engagement to engagement, as you deserve it. You must build all the way on solid rock, then the structure that you finally rear, because of its firm foundation will endure forever.

Build up a public interest in yourself if you expect any producing manager to pay you what you are worth. Perhaps he will never pay you what you think you are worth, but if you bring money into the house he knows he must pay you well in his own interest. And believe me, he knows whether you are an asset or a liability to his show. You have simply got to prove to the box office that you are producing--not stage money--but the real stuff.

There is such a thing in stage lingo as an "overnight hit." Someone suddenly "stops the show" in a town; that is, gets an unusual number of recalls. But wait a while before you decide that you are ready to star on the strength of that. Your next audience or the audience in the next town may not be so enthusiastic over your act. An "overnight hit" is seldom continued beyond the single performance. It is pleasant while it lasts, but it doesn't last long. You must perform consistently and "make a hit" at every performance, with every audience.

Be patient, you who would star and see your name go up in the bright lights on the Great White Way. Do not get discouraged. You will meet with obstacles on the route to fame undoubtedly, as others have done, and, like the others who have finally arrived, you must overcome them one at a time as they appear, by sheer force of willpower, determination, pluck or whatever you desire to call it. If you are a weakling and lack strength of character do not ever take up a stage career, for you will get many a bump; so be prepared to stand it. For only those who are determined to succeed will ever reach the top, where there is plenty of room always.

FORMS OF STAGE CONTRACTS

I offer no apology for posting the inexperienced ones about to enter upon a stage career as to how best to make the start.

The signing of a mutual contract, entering into a legal engagement on the part of manager and dancer to perform certain duties and pay certain salaries for a stated period of time, is of sufficient importance to have serious consideration.

I want my pupils to know in advance just what a proper stage contract looks like, how it reads, and what they will be called upon to sign as "party of the second part" when the hoped for time comes that their dances are to have public presentation on the professional stage.

To this end, I reproduce here the wording of various forms of approved contracts now in general use by American Theatrical managers, and commend their reading to all who are interested in the intimate side of stage affairs.

The theatrical law requires that a chorus girl or boy be paid not less than $30.00 per week in New York City and $35.00 outside of New York, besides their transportation. This is the lowest salary. All first class managers pay choristers not less than $40.00 per week in New York and $50.00 on the road. The salary always includes transportation, but not living expenses, which you are required to pay.

Some chorus girls receive as much as $75.00 or $100.00 weekly, depending upon what they can do, their appearance, personality, etc. About the smallest salary ever offered a solo dancer with a vaudeville act would be $50.00 in New York and $60.00 on tour, while the majority of solo dancers without name or reputation would receive $75.00, $85.00 or $100.00 per week, to start, provided they really can do a real dance in a professional manner and "put it over" with some personality. One who receives $100.00 per week in New York should receive $125.00 on tour. After one's salary reaches $125.00 per week it can be increased on a sliding scale to $150.00 and $175.00 on tour, then $200.00 in New York and $250.00 on tour. From $250.00 to $300.00. After reaching $300.00 it generally jumps to $400.00, from $400.00 to $500.00, after that to $750.00, then $1000.00 to $1250.00, thence to $1500.00 a week, and then to ten percent of the gross receipts, usually a star's contract, though contracts and terms vary. A salary is fixed for one theatrical year and usually increased each year as indicated, but is never increased at all unless there is a demand for your services by reason of the fact that you have made a "hit" and registered genuine success.

Your Name]

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FORM--IND: E.M. NO. 3

THIS CONTRACT MUST NOT BE ISSUED TO THE CHORUS

EQUITY MINIMUM CONTRACT

Standard Form issued by the

Actors' Equity Association

(Affiliated with the American Federation of Labor)

45 West 47th Street, New York City

LOS ANGELES OFFICE 6412 Hollywood Blvd. SAN FRANCISCO OFFICE Theodore Hale, 369 Pine St. CHICAGO OFFICE 1032 Capitol Bldg. KANSAS CITY OFFICE Gayety Theatre Bldg.

To be used by "Independent" New York Managers and others playing same class of attractions.

AGREEMENT made this ---- day of ----, 19--, between ---- ("MANAGER") and ---- (hereinafter called "ACTOR").

Regulations and Rules Over Leaf

Regulations covering rehearsals, notice of termination before and during rehearsals, lost rehearsals, individual termination, closing of play and season, clothes, number of performances, lost performances, transportation, lay-off, method of giving notice and other matters are set forth in the "Regulations" on the reverse side of this page and in "Rules Governing Minimum Standard Contract," on the pages following, and except as hereinafter provided, are a part hereof.

Agreement of Employment

1. The Manager engages the Actor to render service in part of ---- (Here insert name of part; also if Actor is required to understudy.) in the play now called ---- (Here insert present title of play) and the Actor hereby accepts such employment upon the terms herein set forth.