THEATRICAL SITUATION.

Dominion, Volume 5, Issue 1362, 13 February 1912, Page 3

THEATRICAL SITUATION.

RETURN OF MR. J. C. WILLIAMSON. DISCUSSES ACTORS' UNION. Mr. J. C. Williamson returned by the Ii.M.S. Otway after a (rip through America and Europe. He left Sydney in May la~t year, lie admits that he has ennsideivfljlv benelited in health and spirits dining his long sojourn away from home. Asked his opinion at Freinantle on tho rcoent formation of the Actors' Union, he said:—"My attention has been drawn to the fact that a section of actors ill the eastern States has been agitating to form a union. Yes, and 1 have also been informed that an Actors' Society, with Mr. (ieorge Titheradge as president, has been formed. This latter seems to bo the reputable party. It is surprising to me that the Theatrical Employees' Union, the Musicians' Union, and other unions should allow themselves to he used for purposes of helping the interests of the unionist actors. ]f unions such as this Actors' Union hold the power they say they have, backed up by the Trades Hall Council, anil they can affect tho the profession to .such iin ex(ent that they will boycott theatres, then all 1 can pay is that their action is bound to react on oilier reputable unions. ]iy reputable unions ] refer !.-> those of the theatrical employees and (he musicians. We have a working agreement with the latter unions, mid work amicably with them. Such a thing as a boycott is bound to injure the latter unions, because if managers are hampered in their endeavour to cater for the Australian public it means a retrograde movement in the profession will he made. It will serve to lessen the number of 'ventures which at present employ a large number of actors, and would lie a very bad thing, coming as it dots when the theatrical position in Australia is ftic'w a g;od one. From my own experion-je I can venture to say positively that there i≤ no country where the conditions of the theatrical and musical professions are better than they are in Australia at present. Before I left on this present tour we were hard put to it to find competent actors even for small parts. Why, do you think we would import actors and go to the expense of paying them salaries, in addition to "their passage fares out, if wo could the material in Australia. I don't think there is anybody better able to judge the position than I am. Yes, I have seen changes. Xot only has the social position of members of the profession improved, but tho artists' financial outlook is better than it ever was. Tho length of their engagements is greater, and there is more constancy about their work. Ethcarsals are fewer here thau anywhere i.-lst, for the reason that the pieces we bring out arc, as n rule, only the most successful ones, and are previously tested in Europe. As a rule, pieces are produced by stage managers who have seen them in Eurono and America, conswurntly the difficulties ot players are greatly minimised. The old bogus niajiß.wi , has been abolished, and salaries are now sure and regular. The management is in the hands of people whsse interest is with these they employ. Such men as Mr. George Rigiwld, Mr. Bland Holt. Mr. William Anderson, Mr. George, Marlow, aside from the members of my own firm, are keen in looking after'the interests of their employees. What wages do the. urw unionists demand? Well"—and Mr. 'Williamson smiUd—"l believe they want a minimum per week of .£5. Members of the orchestra only average ,£'3 per week, and look at the preparation (ha latter have to go through. -\'o; it seems to me that tin latest union is intended more for the purpose of using trades uuionijin to onable a number of people, many of wiiam have been tried and found wanting, to get a salary which is higher than that paid to musicians and oth?.r unionists who go through a long and arduous preparation. If I thought this union was ' like'y.to prove a good thing (o (he profession generally I would heartily support it."