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Show THE ACTORS' STRIKE One weakness of the actors' strike at New York and Chicago is that the leaders of the walkout might be classed among our capitalists. If they were striking to get higher wages for the ushers, who are always underpaid, or for the stage hands or the chorus girls, they might be able to plead the high cost of living, but when they are just striking to make their already soft couch a bit softer, public sympathy is not likely to be very keen in their behalf. The strike is called to enforce payment for rehearsals and extra pay when more than eight performances are given a week. But the trouble is the leaders of the walkout are receiving from $500 to $10,000 weekly, and hence they cannot expect much sympathy sym-pathy from the proletariat. We would be with the stage stars and say they were making a noble fight, if they would eliminate their own interests and devote all their efforts to helping the lesser lights. ..- . In other words, suppose the high salaried srars would an-nouncce an-nouncce that they would make no demand for themselves they were making enough to avoid the pinch of the high cost of living liv-ing but they would not go back to work unless their assistants were more adequately proyided for. The stars might even sacrifice sacri-fice a little of their own salary to help along the top-floor-away-in-the-rear performers. Then we proletariats would sliout their praises. But the sad part of it is, we don't hear the stars making any such conversation. |