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https://www.pickardspapers.gla.ac.uk/files/original/d4989d5963b819fbee516f37004faa9f.jpg
531795352a5a634359b0d0b3558ddad3
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
BP01 Panopticon Museum Vol 1
Subject
The topic of the resource
Social History
Music Hall
Waxworks
Creator
An entity primarily responsible for making the resource
[A. E. Pickard]
Source
A related resource from which the described resource is derived
Pickard's Scrapbooks collection at Royal Scottish Conservatoire Archives.
Publisher
An entity responsible for making the resource available
Pickard's Papers project. Britannia Panopticon Music Hall Trust / University of Glasgow / Heritage Lottery
Contributor
An entity responsible for making contributions to the resource
Pickard's Papers Project, processed by Berta Ramos
Rights
Information about rights held in and over the resource
This material is made available for non-commercial research and education purposes, and no copyright infringement is intended. If the material is still in copyright, or contains sensitive information, please contact us and we will take it down.
Format
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Original: Hard-bound paper scrapbook
Language
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English
Type
The nature or genre of the resource
Text
Identifier
An unambiguous reference to the resource within a given context
BP01
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Edwardian
Description
An account of the resource
This scrapbook covers the early history of the Britannia Panopticon under Pickard's management.
Newspaper cutting
Newspaper
Title of the newspaper, if given
Daily Mail, Daily Record and Mail
Date
Date of newspaper article
January 24 1907, January 28 1907
Text
Any textual data included in the document
THE OUTLOOK
The War in The Music-Halls.
The National’ Alliance of Music-hall Artists
must bo granted much credit for the secrecy
and suddenness with which it prepared the war
that now rages in the music-halls. The society
was only completely organised on Sunday night,
when the three unions which exist to defend
the rights of those employed in the music-balk
amalgamated, and the Variety Artists’
Federation, representing the “ stars ” and
j^rformers; the National Association of
Theatrical Employees, representing the
workers employed on the stage and in
subordinate positions ; and the Amalgamated
Musicians' Union, including a large proportion
of the musicians engaged in the various
■orchestras, joined hands to do battle with the
managers, and to obtain the more favourable!
conditions'’ for the humbler workers laid down
in their “ eMrffcr.”
On Monday the struggle opened dramatically
with a strike in the six halls controlled by Mr.
Gibbons. The advertised jwrfortners declined
to put in an appearance. “ Little Tieb," Mr.
Arthur Roberts, Miss Marie Lloyd, Mr. Alec.
Hurley, and numerous less-known names,
among the absentees. The very musician
fused to -discourse music. After a longer, or a
shorter, wait tho audiences dispersed, and
received the return of their entrance money.
The complaint made against Mr. Gibbons was
that he had failed to accept the “charter”
aim of the union appears a laudable one — to
obtain a living wage for the poorer class of em-
ployee. The scale of wagos to be paid is laid
down iu tho “ charter ” at 36s. per week in the
case of musicians and “ corresponding rates"
ill other classes of workers. The artists, however,
who have made common cause with the humbler
uiembers of their union, allege distinct
grievances of their own. They complain of the
“ barring clause ” in their contracts, which pre-
vents them from performing elsewhere than iu
the hal s for wliieh they are specially retained.
They object to transfer from one hall to another
without their consent and by compulsion. They
also ask for matinee pay, to chock the practioe,
which they assort has been growing up, of re-
quiring their appearance at such performances
without remuneration. They point out
that though the salaries of “ stars ”
may be large in some eases, there
are yet many instances in which performers
roceive only a miserable remuneration. Thus,
to give one example out of many, a troupe of
eight girls receives only a salary of £6 per week,
or only 15s. apiece. On such a low Wage it is
impossible for any self-respecting woman to live
with decency. Common humanity and
sympathy for the oppressed are appealed to by
the union.
The managers reply that the dividends earned
by the halls are not large iu view of the risks.
Both Mr. Gibbons and Mr. Payne protest that
they pay the full union rate of wages. They dc-
ffend the “ barring clause” by the plea that whore
peciaily high terms are paid to artists such
restrictions are not unreasonable. Our
contributor “ Bevis ” yesterday p intod out that
the accounts of one largo West End music-hall
■ howed that, out. of total receipts to the amount
and had “ broken his signed agreement to give of £43,000, salaries and wages absorbed £23,000,
fur terms and conditions ” to the artiste and and that the net profit made was only £8,000.
employees at his halls. On his part he contends ]
that there was no breach of faith, and that
lie was only given half an hour to accept or
; refuse the “ charter,” which allowed him no j
< time to consult his directors. The first blow
of Monday night was followed up by a similar I
stroke on Tuesday, when the performers and
employees at eight halls managed by Mr. G. A.
Payne, struck work. At six of the eight no
performance was given, at one a partial
performance, and tho eighth a complete
entertainment, with, however, new performers. DAILY
[Like Mr. Gibbons, Mr. Payne had been called
upon to sign the “charter,” and had declined.
The war threatens to spread to the provinces,
and it wil! bo, we are assured, a war to the
knife. It is well, therefore, that the public
shou d understand the questions at issue. The
Meantime the crisis continues, and, in the words
of Mr. Moul, the popular manager of. the
Alhambra, will be fought out to the end by the
managers. The public will look for some
evidence from tho various authorities controlling
these places of 'entertainment that the humbler
performers are adequately paid, and are not
condemned in their private life to the wretched
penury which is in singular aud poignant
contrast with tho show and splendour of the
MUSIC-HALL STKIKE.
j FIGHTING CHALLENGE BY THE
PliOPhlETi.RS.
VARIETY ARTISTS’ VIEWS.
It is to be a tight to the bitter end.
That is the result of the meeting of the
London music-hall proprietors held yes-
terday afternoon.
The meeting was held under the
auspices of the London Entertainment
Protection Association, and after an hour
and a half's deliberation in private the
following statement was issued : —
“ At a representative meeting of the
Lcndon Entertainment Protection Asso-
ciation, which has now been extended to
include provincial members, held at
Durham House, Strand, this afternoon,
the following resolution was unanimously
passed : —
” ; That every member of this associatvvi
pledges himself to support the act-on
taken in resisting the attack made upon
certain members by the National
Alliance, the same support to be given
to anj r other members of this association
who may be called upon to resist similar
attack.’ ”
In effect the resolution means that the
proprietors are prepared for battle, and
it is a fighting challenge.
The Variety Artistes’ Federation yester-
day afternoon discussed a suggestion of
picketing the Moss-Stoll Empires through-
out. the country. This policy will have to
be approved by the alliance before it is
operative.
Further developments yesterday were
an application at Bow-street for a sum-
moms and another to the Attorney-General
for permission to institute proceedings
under the Secret Commissions Act.
QUARREL EXPLAINED.
The dispute arose through the refusal
of the managers to sign a document. agree-
ing that the following conditions ehoula
prevail in music-h-alk? -
One- twelfth solary for mattneee at all
t w o-sh o w <{Fa, -night halls.
One-seventh salary for all matinees, essvc
MR, HARRY TATE’S VIEWS. I
/-Mr. Harry Tate, the well-known mimic, i
decidedly aggressive views iu con- ji
neriho with the music-hall strike. Mr.;
Tvtc is at present one of the principal'
comedians in the Royal Court Theatre pan-!
tonijmo; Liverpool, aud last night, in dis- j
cussing the situation with the Liverpool;*
representative of the ''Daily Mail/’ hejj
signified his emphatic acquiescence in the !
procedure the Variety Artistes’ Asso- j
citian had adopted.
“It is said,” he remarked. “that by
combining with the members of the |
orchestra and the scene shifters we are '
lowering oureelves, but it is a question ci !
the interests of the whole body of music- j-
hall stage employees. Without the !
orchestra the artiste might as well cancel |
his contracts. The re»sult of this fight will [
he that we shall get contracts in which
there is some common-sense.. As contracts
are phrased at present w T e are at the mercy |
of the managers if we sign them. If we }
do not we are thrown out of work.”
“One of the first members of the Variety j;
! Artists’ Federation was Mr. Malcolm Scott, j
i who ha6 earned a reputation on the music- j;
I hall stage as an extremely clever pa.tteirer. j
' He is also engaged at present in pantomime f
I in Liverpool. If anything his views were 1
j even more decided : “l thoroughly agree ;
I with the procedure *-hat h’.s been adopted.
| in London,” he said. “ There has been a j
: great outcry about the enormous salaries j
we music-hall people got. W* do not da- j
j maud those big salaries. They a.re offered j
I to us, and so long a* contracts have an i
; equitable basis we would not dream of
| evading them. There is at present no |
equity in thus contracts, and that is the j
reason why we are up in arms against ]
them.
“ I think we shall win this fight. The
public do not know the managers by name. ,
They do know the artistes, and unless the ;
artistes the people know are put on the ;
stage the public will not patronise the:
houses.”
INCIDENTS OF
THE STRIKE.
have signed the
RECORD AND
JANUARY 28, 11)07
one. at dive-show halls
MAIL Board of Arbitration to settle disputes.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Identifier
An unambiguous reference to the resource within a given context
BP01.54
Title
A name given to the resource
BP01.54 Scrapbook page
Subject
The topic of the resource
Social History, Variety Theatre
Source
A related resource from which the described resource is derived
Pickard's Papers: Panopticon Museum Vol 54
Description
An account of the resource
Newspaper cuttings about a music hall strike and the banning of a Strauss/Oscar Wilde opera Salome at the Metropolitan Opera House, New York.
Contributor
An entity responsible for making contributions to the resource
Britannia Panopticon Music Hall Trust
Publisher
An entity responsible for making the resource available
Pickard's Papers project. Britannia Panopticon Music Hall Trust / University of Glasgow / Heritage Lottery Fund
Language
A language of the resource
English
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Edwardian
Format
The file format, physical medium, or dimensions of the resource
image/jpegfrom paper original
Creator
An entity primarily responsible for making the resource
[A. E. Pickard]
Rights
Information about rights held in and over the resource
This material is made available for non-commercial research and education purposes, and no copyright infringement is intended. If the material is still in copyright, or contains sensitive information, please contact us and we will take it down.
Metropolitan
music-hall
Oscar Wilde
Strauss
strike