The Star System: How Actors Made Millions (and Squandered Them)

The Players.

HOW MUCH THEY MAKE AND HOW THEY MAKE IT—WHAT IT COSTS TO SEE THEM.

Lydia Thompson, says the veteran, earns $100,000 in cash after her burlesque tour in the States. Other artists like Booth, Boucicault, Southern, Neilson—are doing just as well to-day. The sums paid to drawing stars are enormous, and if actors were as provident as the average grocer, their profession would be noted for its wealthy members.

In the dramatic firmament one star differs from another star, not alone in the glory of popularity, but in two radical points besides—salary and economy. Men like Owens get rich every year and keep so. Men like Florence get rich often and spend all they make.

Booth's history covers a period of twenty-five years, yes, thirty years, but until he made his hit in Winter Garden, coached and directed by William Stuart, neither he nor his history was of the least account. From that time till the day of his bankruptcy, he lived on the very crest of popularity, and coined fortunes every year. He failed and lost all. His father-in-law, Mr. McVicker, of Chicago, recently compromised Booth's debts, to the amount of $250,000, at the rate of five and a quarter cents on the dollar, so that once more the actor is free to make and save. His regular terms are $1,500 a performance, or $200 a week. This sum was paid him during the last long and profitless engagement in the Lyceum Theater, from which Manager McVicker retired a loser of $20,000. With Booth and one of the worst companies ever known he went to the Academy of Music, in Brooklyn, and in two weeks cleared $20,600, so that when he returned to his Western home he was not out a dollar. Booth is known in the profession as a 'Slider.' That is, he makes terms according to his market. For instance, he plays now at the Arch Street Theater, Philadelphia, where for seventy-five per cent. of the gross receipts he furnishes himself and his support. When he played in the Brooklyn Theater, he had $1,500 for each performance. In San Francisco, after thirteen years' absence, he netted $2,000 in six weeks, and the management cleared the sum. The places where Booth draws best are New York, Philadelphia and Boston.

Southern has had an extraordinary run of luck. He is not a young man, nor indeed a middle-aged man any longer. He verges on old age, with grown up children and looks like the damaged snow. His regular terms are each $1,000 per performance, or $4,000 a week. These terms he commands in New York, Boston, Chicago and San Francisco. There is a great difference between Booth and Southern in money matters. The former is stingy and close, the latter reckless and extravagant. He not only lives while in this country in most prodigal style, but keeps up a great establishment abroad. He gives freely and spends foolishly.

The richest actor is John E. Owens, 'Solon Shingle.' His terms are $300 a night, or one-third of the gross receipts. His chief profits are the result of judicious real estate investments. He owns over $1,000,000 in landed property alone. He is married, not generous in living nor given to self-indulgences.