Theatre Design & Technology - Winter 1996 - 51

Letters
A:'\ ACTOR'S ACTOR
Martin-Harvey's influence on the theatre is reflected by his long standing
in the profession as well as critical acclaim for the roles he pelformed.
He was a member of Sir Henry Irving's Lyceum Company for 14 years,
where he gained a reputation as the actor's actor. His signature role was
Sydney Carton in1'lJe o//()' IVa)' (an adaptation of A Tale o/Two Cities
by Charles Dickens). His finest pelformance is considered to be Oedipus Rex in Max Reinhardt's production of the play at the Covent Garden
tlleatre in 1912. Although Martin-Harvey excelled as a popular actor, it
was as an actOl~manager that he gained the most notoriety.

THE ACTOR AS r,[A0lAGER
In the mid-1800s, smaU regional theatre companies typified theatre outside of London. These seU-sufficient companies, consisting of a small
corps of actors, were independent from the major theatres in London.
When London's leading actors found that lucrative opportunities could
be reaped by touring tlle provincial tlleatres in tlle off-season, tlle fate of
the regional company was sealed. Regional theatre owners found that a
successful touring production from London \"as less risky than staging a
new play. Thus, the "stock company" was born. Stock companies genel~
aUy employed a star actor from London, and would tour with a select
group of actors tllat formed the acting company; the star performer was
referred to as the "actOl~manager."
As the popularity of the stock comp:U1Y grew, audiences soon
wished to see quality productions in their own prO\~nces-large, scenic
spectacles that equaled their London counterparts. It becanle increasingly difficult for the stock company to mount an affordable tour. It was
not long before the reputable actol~manager was replaced by syndicates
:U1d speculators. The sylldicates were prone to offering contracts to the
actors that were inequitable at best, illegal at worst, subjecting the players to increasingly abject working conditions. Actors were often
stranded in remote locations due to the unexpected closing of a show,
unable to return to London. Dressing rooms and sanitary conditions in
many theatres were hazardous and unhealthy. In one case an actress returned from the stage to find rats feasting on her greasepaint. I

ACTORS UNITED
Spurred by the declining working conditions of the average acting professional, the Actors Association (A.A.) was formed in 1892. 1 The earliest attempt toward organizing actors was difficult and disorg:U1ized, and
for many years the Association struggled. However, in the early nineteen
twenties, the trade union movement gained momeI1lum throughout
Great Britain, thereby giving a boost to the idea of a trade union for actors. The founders of the A.A. believed that they could achieve their goal

of requiring all actors in a given company be members of the union by
soliciting the help of their fellow brotllers in other trade unions. Their
strategy was to exert a combined pressure on the touring managers and
resident theatre O\\'I1ers, forcing them to hire only members of the Actors Association-classic union tactics.

THE STAGE GUILD
Resistance to the A.A. and its organizing efforts came not only from
managers :U1d owners, but from actors themselves. The idea of a trade
union was appalling to many actors. They felt that association with a
trade union was something tllat diminished the artistic freedom of the
actor. John 1artin-H:u'vey was p:u'ticularly outspoken on tllis issue stating, "You cannot have trade unionism when you are dealing with indi\idual ability :Uld talent. It is aU nonsense. You c:umot set up
mech:u1ical standards for artists or sculptors, :Uld no more can you do
it for stage artists." 5 In addition, it \"as considered UI1\\~se for an actor
seeking popularity to be associated with an organization that had direct
ties to striking miners, picketing laborers, or other union org:Ulizing efforts. As an :tlternative to the Actor's Association, the Stage Guild was
formed in June of 1924 :Uld Sir John served as a prominent member. -,
The purpose of the Stage Guild was to bring m:U1agers, actors, authors
:U1d others in the profession together into one org:Ulization that would
negotiate agreemeI1ls :Uld resolve conflicts. Membership in the Stage
Guild was not exclusive; members could also join other organizations
(including the A.A.) if they wished.
Although the Stage Guild :lI1d the A.A. were both supposedly
formed for the benefit of the actor, there were significant differences in
their approach. The A.A. was a union in the traditional sense. It took an
adversarial role towards management and sought to improve the lot of
the actor through strict negotiations and contracts. The contracts were
TD&T

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Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 1996