In the period of about sixteen years preceding 1912 the newspaper press of America published many thousands of columns, often critical, at times strongly censorious, about the “Trust” or monopoly which commonly is known as “The Theatrical Syndicate.” Bitter fights likewise have been waged not only in the press but in the courts relative to that organization. The public has, from time to time, manifested interest in the subject,--as, for example, relative to Mrs. Fiske’s appearance in all sorts of unsuitable places, because the Syndicate had “barred” her from the regular and (as they are technically styled) “first-class” theatres, and to Mme. Bernhardt’s enforced performances in a circus tent, for the same reason, and, especially, to Belasco’s almost preterhuman efforts to present his plays in Washington (from which city strenuous efforts were made by the Syndicate to exclude him). Yet I believe that the public knowledge of the Syndicate,--its origin, aims, character, policy, conduct, and effect,--has never been more than superficial. THE SYNDICATE-INCUBUS DEFINED. What _is_ “The Theatrical Syndicate,” and _why_ should it rightfully be denounced and opposed as a pernicious institution? The Theatrical Syndicate, primarily, was a partnership of six men, all speculative theatrical managers, formed for the purpose of dominating, for the pecuniary profit, advantage, and personal aggrandizement of its members, the theatrical business of America, and of doing this by methods some of which, in their practical operation, are morally iniquitous, and should be, if they are not, legally preventable, in the public interest. Those six men were: Al. (Albert) Hayman (deceased 1916), Charles Frohman (deceased 1915), Marc Klaw, and Abraham Lincoln Erlanger, all of New York; and Samuel F. Nirdlinger (known as Nixon) and J. Frederick Zimmermann, both of Philadelphia, Pennsylvania. The contract under which those persons formed their copartnership and carried on their syndicate business was made in August, 1896, and it was renewed, in substance, in April, 1900. SPECIOUS PRETENSIONS TO JUSTIFY THE INCUBUS. The founders of the Theatrical Syndicate have, with much fulsome commendation of themselves and their purposes, directly or by implication, sought to justify the position they have assumed by specious assurances substantially to this effect: