Part 37

For each act the location on the stage of all scenery and furniture must be definitely determined, as well as the exact place for each performance, and the producer determines the location of the same, and the different heads of the mechanical staff mark the stage ground-cloth in colored crayons or water-colors for the guidance of the stage carpenter, property man, and electricians, upon whom devolves the duty of setting the stage, props and electrical equipment. The producer is absolute monarch behind the curtain line, his dominion extending not only over the actors, singers and dancers--the entire company--but also over all members of the mechanical staff and the orchestra. He alone is responsible to the owner for the successful presentation of the performance. His is a man's size job.

How many American producers of the supreme type, capable of the bigger things, are there in the United States?

I know five. And I know them all. Five out of 110,000,000 people. How many do you know of?

The Stage Manager takes the show from the Producer after the opening performance and is thereafter responsible for everything connected with the show back of the curtain line. He it is who presses the buttons that run the curtain up and down, and gets the performance under way and keeps it moving, changing the scenery and lights exactly as arranged by the Producer. He is accountable to the Company Manager for the way every performance is given, and maintains a close supervision over the principal artists and the chorus, sees to it that they stick to their script and do not interpolate matter of their own or "guy" each other or the audience. Actors or actresses who are insincere in the parts assigned to them should be barred from the professional stage. There is evidence of "guying" an audience at times in some of the best companies on the part of some players of established reputations who should be ashamed of themselves, and who certainly should be punished for such offenses. I have known some star comedians to go on the stage intoxicated, which is an unpardonable offense, and for which such persons should be driven out of the show business. If an actor would dare do such a thing in a company directed by me, I would go before the curtain and denounce him to the audience and refund the price of admission. An actor who would do a thing like that is called a "ham," which means a common person with no mentality or breeding,--a type that is practically extinct now in the theatre.

The Stage Manager is responsible for every facial makeup, and will personally pass upon each individual's appearance. He is usually an actor of long experience, and knows makeup thoroughly, but not the straight makeup for youth as taught in the Ned Wayburn Studios which is the makeup I perfected when glorifying the celebrated "Follies" beauties. He is capable of maintaining discipline, and is the watch dog behind the curtain. He commands respect by reason of his knowledge, experience and good judgment. He has presence of mind and is able to handle any emergency that comes up. He must thoroughly know his business. He is versatile. Like the several instructors in my studios, who have had long stage experiences and specialized training for their jobs, the Stage Manager is able to answer any question that can come up concerning stage matters, and he is able to understudy and play most any part in an emergency.

The Assistant Stage Manager is under the Stage Manager. In the larger productions there are often two assistants. He has charge of the chorus, male and female, and is required to make all calls, to get the principals and chorus to the stage. He calls "half hour," thirty minutes before the overture time, "fifteen minutes," fifteen minutes before the overture time, and "overture," and when the overture is called everybody in the opening of the first act must come to the stage. He does the clerical work for his department and keeps the record of attendance, etc.

The Musical Director, who is the leader of the orchestra, is responsible to the Stage Manager for the way in which all music is played at every performance, as well as for the correct rendition of all vocal numbers on the stage. Every tempo throughout the play is his personal responsibility, and the composer exacts of him the most careful and effective execution of the score as written. It is he, too, who conducts all music rehearsals. He and his entire orchestra are members in good standing of the American Federation of Musicians, and the amount and time of their service in the theatre are definitely agreed upon and duly set forth in a signed contract in established legal form and binding upon both parties.

All shows carrying scenery require the services of a Stage Carpenter, who is the custodian of all scenery and scenic effects, drops, solid drops, cut drops, leg drops, gauze drops, borders, exteriors, interiors, ceilings--all flat stuff and set stuff. (I am using the usual stage nomenclature for these, assuming that you will know the meanings of most of them, can guess at others, and won't care especially if one or two are not in your vocabulary. Stage jargon has crept pretty well into the understanding of the general public, till now most theatrical terms are matters of common knowledge.) The scenery is set for each scene on the exact floor marking indicated by the producer. Stage-hands, known as "Grips" in stage parlance, set the scenes.

There is usually a second stage carpenter, or second-hand assigned to work at the side of the stage opposite the stage carpenter, and a boss flyman, whose station is up above in the fly-gallery. He gives the "flymen" the cues to lower and raise the scenery as required, upon receiving signals by "buzzer" or "light-flashes" from the stage.

The property man, known as "Props," has charge of the furniture, rugs, pianos, telephones, everything of this nature, as well as of all hand-props, such as bric-a-brac, books, flowers, fruit, food for stage banquets, table silver and china, everything in fact that the play requires--even to a prop baby or any animals required. It is his duty to see that all props are in place for each act, ready to the hand of each player as the action calls for them.

There is also an Assistant Property Man, who has charge of the clearers, the men who set the "props" and clear off the trappings after each act, preparatory to setting the scene for the act following. At the close of the last act of the play the stage is again cleared, both of props and scenery, to permit unobstructed passageway. This is a state requirement, enacted as a fire-prevention measure.

The Chief Electrician operates the switchboard and is the custodian of all lights on the stage; that is, of all portable lamps, of all that actually light. A lamp that is merely a prop or a decoration and not used to yield light is under the control of props and no electrician will touch it. The Assistant Electrician has the responsibility of all lamps in the theatre other than those on the stage.

Nobody ever touches a light in the theatre. A call goes out for the electrician if anything goes wrong with a light anywhere. Nobody ever shifts or moves any part of the scenery except the stage carpenter or the crew under him. None but props ever places a piece of furniture on the stage. If you want a chair moved half an inch you must call the property man to do it, otherwise the several unions involved will immediately and without any question stage a drama of their own that is not down on the bills; one that may really turn out to be next door to a tragedy, since the penalty for failing to observe union requirements would undoubtedly be to stop the performance, walk off the stage and fine the stage-hand who was guilty of over-stepping the bounds $100.00 and ban him from the union.

Every musical production has its wardrobe mistress, and sometimes, if large enough, her assistant, both good seamstresses. The dressing room assigned to them is called the wardrobe. All costumes are in the care and charge of the wardrobe mistress. She alters and keeps them in repair, and sends out to be pressed or cleaned when occasion demands. The wardrobe women also have a union.

The Company Manager represents the owner of the show and controls the "front of the house." He has nothing whatever to do with matters back of the curtain line, which are strictly within the province of the producer or stage manager. He has enough cares and important duties of his own without going back stage to find more to add to them. Moreover, any effort on his part to dictate to the producing end would cause an immediate rupture. He knows that, and attends strictly to his own affairs. Probably in no other craft, trade or profession is the line so carefully drawn between the business end and the producing end as in the show business. It is the Company Manager who is the custodian of the funds, handles all the finances and acts as paymaster. He maintains a close supervision over the sale of tickets sold at each performance and with the aid of the resident house manager and house treasurer "counts up" the tickets directly after the sale has stopped for each performance, usually after the curtain goes up on the second act. He makes up the payroll at the end of every week and pays the company on Saturdays during either the matinee or evening performance, as is required by the standard theatrical contracts.

The Company Manager is the watch dog of the show from "front." The box office receipts tell him a story that he must heed, and he is quick to catch its warning. There comes a time when even the most successful play must be withdrawn from the stage or continue at a financial loss. He is a wise company manager who can correctly determine the exact point to call a halt and terminate a run for the best interests of the owner and all others concerned. And it is because he can do this that he holds the important position that he does. He is almost invariably an experienced showman. Furthermore, his multiple duties require him to be a diplomat if he would maintain his standing for preeminence.

When the company travels, he arranges the transportation, provides rail or other transportation, supervises and controls everything connected with the entire trip. He is held financially responsible, and signs many contracts. The Company Manager handles everything connected with money and transportation and is an important cog in the wheels of things theatrical.

There is a press representative connected with the show who finds plenty to do in attending to all newspaper advertising and advance writeups, publicity, photographs, billboard posters, photograph lobby frames and other display matter, as well as all other printing, including the newspaper ads and the distribution of printed matter. The fixing of the prices for tickets, which is most important, is usually his duty, provided he is a shrewd showman. The Press Representative, or Director of Publicity, or "Agent" as he is known professionally, is generally found about two weeks in advance of the company arranging every detail to anticipate a successful opening or presentation in each city, or "stand," as it is called.

So much for the personnel of the show's management and working crew.

Now we will say our company has just arrived in town and taken over the theatre in which it is to appear for an engagement.

It finds at the theatre a resident house manager, a resident house treasurer, in charge of the local box office, and his assistant treasurer, who acts at times as relief for his chief, opens the box office in the morning, and sells the gallery tickets at show time. There is a house music director, a permanent chief usher and the other ushers, front ticket takers, an advertising agent, bill poster, a day and night stage door tender, who are usually watchmen, who are custodians of the building, besides the janitor and cleaners.

There is no conflicting of authority by reason of the arrival of our show upon the scene. It is understood by all hands that the show staff takes precedence of the house staff, and all work together for the general good, to put over a perfect and complete performance and get the public's patronage and approval.

One thing you will do well to remember if you ever become a member of any theatrical business or mechanical staff:

If you have occasion to purchase anything for the show or theatre at any time, be sure to get the company's stage manager's OK, or order or voucher of some kind in advance. It is an invariable rule of the craft that any purchase of over five cents made without this formal sanction will not be paid by the management, but will be considered as a donation--however involuntary--on your part.

There is one very important man behind the curtain at every performance on every stage, whose rule is arbitrary and absolute, and who is not on the company payroll. This is the house fireman, a city officer, with the power of the city and state behind him. The fire regulations are posted in plain sight on every stage. "No smoking" is one peremptory order that admits of no violation. Woe unto the actor or actress, principal or chorus girl, who tries to sneak a smoke in a dressing room, if found out! The fireman is using his nose as well as his eyes, and the familiar odor of a surreptitious cigarette will lead him straight to the culprit. Mr. Fireman is authorized by law to enter any dressing room under such circumstances, and no matter what the state of your toilet, he will exercise his authority, enter your room--and remove you forthwith. Fine or imprisonment, or both, are the legal penalties for violation of the no smoking law, and for using a flame or canned fuel, in most theatres. Principals have before now been taken off the stage in the midst of a performance and landed in jail, necessitating the dismissal of the audience. It is a mighty important man who can do a thing like that, and consequently the fireman commands the profoundest respect of every member of every company, from the chief all the way down the line.

No man is ever employed back of the curtain line in any first class theatre who is not known to be of good character. Those who are old in the theatrical business know this fact. If you harbor any other idea of these men, get it right out of your mind. Every theatre manager today demands that his employees be qualified in respect to character as well as in ability.

Now that I have taken you back of the curtain line and out into the front office and shown you just how the wheels go 'round that make the show go, you have become aware that there is something more in the theatre business than a mere group of good actors and singers and dancers doing their best to please you up on the stage. The more the machinery of the stage is kept out of sight, the better the management and the greater the satisfaction, both to the folks behind the curtain and the audience out front. Your attention should not be distracted from the play, the opera, the spectacle, by the intrusion of any noise or the appearance of anything or anyone not concerned with the actual presentation. The drop curtain or the tableau curtain should move silently and without revealing the human agents that manipulate them.

Scenes and sets should be made in silence and out of view of the spectators. No person should ever be in evidence on the stage, not even momentarily, save only the actors, whose presence you expect and welcome. Otherwise the illusion is interrupted, perhaps destroyed--and ours is an art where illusion holds a major place in imparting pleasure. Such an extraneous element would also break the continuity. It is not tolerated in the best houses.