what you are after. For although they
will not remember your name yet, if you really pleased them they will
remember your offering; about your third trip around they will learn
your name and never forget it--provided you "make good." If you fail,
the audience will forget you; but _not_ the manager. Once you fail in
his opinion, he will never forget or forgive it. He will never give
anyone who fails a second chance. That is "show business."

Your fourth year should find you in a New York production in some good
company. For New York is always the objective point, since the best
and most opportunities are always there. There follows naturally a
year on the road in the same company, as the show abandons New York
for a tour of the larger cities. Always make the road trip in order to
create territory for yourself, to establish a following, to make a
still bigger name and demand for you, which means a larger salary
eventually. You are sufficiently established now, after five
successful years, to be able to expect another New York engagement,
under the same management in all likelihood but with a new vehicle.
This New York engagement and another year on tour with the same play
puts you seven years along the way to a name in the big lights, and
your name has been growing day by day, until it is now known in good
territory, and consequently, through wise exploitation--publicity--it
has become a magnet and attracts patronage.

When the time comes that your name is to go up in front of the
theatre, choose to be featured at first rather than starred. If
anything must fail, let it be the show, and not you. Don't risk
failing to "draw business" to the box office.

There will come a time somewhere along in your progress to fame when
you will need a business manager or an agent versed in all matters of
a theatrical nature, favorably known to all the large producing
managers, and able to advance your fortunes materially by protecting
and looking after your interests. He is entitled to receive ten
percent of your earnings from whatever source, and the services he can
render you are well worth it.

Nearly every successful actor and actress has a manager. Stage
celebrities have not the time, let alone the experience and ability,
to promote their own business interests, watch for opportunities to
secure the choice engagements, and attend to the very necessary
publicity and negotiations for contracts for the future. The reputable
agent