Early in the 20th century, three potential profit sources existed for theatrical producers – successful New York runs, lucrative national and international road tours, sales of rights to stock companies.
Touring Companies and Movie Houses
The wide-ranging New York-based commercial theatre business sent productions across the U. S. and into Canada. Very often, up to ten companies toured with an individual play, as on the average about 300 troupes operated weekly during the 20th century’s first ten years. Reception on the road, where powerful theatre circuits and booking organizations controlled the activities, determined a play’s financial success.
The burgeoning new motion picture industry with its nickelodeons drastically changed the entertainment scene, and as its output increased, out-of-New York theatrical activities decreased. The new medium’s utilization of Vaudeville-style acts in one-reel pictures lead to the demise of that once-formidable brand of entertainment.
Those 10 or 15-minute films did not directly affect touring operations, but the development of feature-length movies quickly became a contentious issue. With road show production costs drastically increasing, theatre managers could raise prices or lower their standards. When they chose the second alternative, disappointed patrons refused to attend, and with road productions unprofitable by the early 1920s, success in New York became the only viable option.
Audience Entertainment Preferences
From 1915, audience preferences shifted from live theatre to feature-length motion pictures. The rapidly growing industry with its star system and extensive advertising surpassed all entertainment branches by 1918.
Refusal to comply with demands to include movies in their programs meant loss of business for theatre owners through various competitive moves. Frequently, new motion picture ‘palaces’ constructed directly opposite ‘legitimate’ venues showed films starring the very performers appearing on their stages.
Movie theatre managers attracted audiences with vaudeville acts and musical revues in their programs, with songs from current Broadway musicals. Producers, authors, and composers objected to the practice, and to protect their incomes and artistic interests, the Dramatists Guild negotiated a Minimum Basic Agreement in 1926.
Economic Relationship
With ‘talkies’ introduced in The Jazz Singer, studios employed more theatrical personnel – performers, playwrights, and producers – a practice that seriously threatened legitimate theatre’s economic stability. Performers such as Ethel Barrymore, lured by higher earnings potential, frequently worked at film making during Broadway’s off season. Some theatre producers refused to sign contracts with stage stars who appeared in films, and some actors boycotted work in movies. Also lured to the new industry’s base in Hollywood, California, playwrights adapted their own plays and other literary pieces.
Eventually, theatre developed a viable economic relationship with the competitive new motion picture industry. Potentially, a Broadway play can earn income from the box office, touring companies, stock, amateur, and foreign productions, as well as movies, television programs, recordings, and commercials. The sale of rights to motion picture companies is now the theatre’s main source of income.
Sources:
Broadway and Hollywood: A History of Economic Interaction by Robert McLaughlin, Arno Press 1974
Art, Glitter, and Glitz: Mainstream Playwrights and Popular Theatre in 1920s in America Edited by Arthur Gewirtz and James J. Kolb, Praeger Publishers 2004
Kathleen Airdrie - Kathleen has thirty years' freelance writing experience covering history, biographical profiles, environmental and social issues
Join the Conversation