Trix to Fix Stix

"West of Broadway, every town is Bridgeport."

-Old Trouper's lament

On Broadway last week, spokesmen for the U.S. theater were singing the blues about life on the road. Whether in Bridgeport or Ashtabula, St. Joe or Altoona, so few citizens west of the Main Stem are paying to see touring shows that a conference of theater operators met in Manhattan to search for a way to boost show business in the sticks, or, as Variety might say, to look for trix to fix stix.

After the two touring companies of Auntie Mame ran afoul of the movie and decided to pull up stakes, and after the New York Li'l Abner company died in Toronto and Sunrise at Campobello sank Jan. 6 in Toledo, with total losses of about $200,000, the lists last week showed only seven shows on tour. The reason was no secret. Subscription-sponsored tours, such as those promoted by the Theatre Guild through 23 cities, have a fighting chance, but big-name actors no longer like to hit the road, and road-show audiences are no longer satisfied unless they see big-name actors. "Producers forget that the U.S. has become a metropolitan country," says Director Morton (Music Man) Da Costa. "With communication and TV what they are, there's no longer any such thing as the sticks. You can't patronize people anymore."

Rare is the star nowadays who is willing to sign for a tour. "Actors aren't nomads anymore," says Actress Arlene Francis. "They're only interested in security, and they can get that by staying home and working 52 weeks a year on television." Says Celeste (Third Best Sport) Holm: "People used to tour as a whole family. Family life was preserved in that trunk you hear about. Families still reminisce about being together for Christmas in Dubuque and all that jazz. Today, actors won't give up family life at home."

To meet road problems, the theater operators meeting in Manhattan last week 1) called for the organization of an independent production unit solely concerned with plays for the road, 2) suggested an industry reserve fund to be built from a 10-c- bite on every ticket sold on the road, 3) sent Theatre Guild Director Lawrence Langner to plead with actors' agents that they persuade their clients to hit the road.

For all the lack of real hope for future improvement, there was general agreement that even on the road the theater could be counted on to keep dying for a long time. The only solid way to fix stix is through clix. Said Warren Caro, executive director of Theatre Guild-American Theater: "Basically, it all goes back to Broadway. The road's ups and downs reflect the strength of the New York season. If New York offers good and popular plays, the road doesn't have to worry."

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