How to Produce Amateur Plays: A Practical Manual

by Barrett H. Clark

It will be found necessary in some cases to add to the staff one person whose business it is to attend to the matter of furnishings: rugs, hangings, pictures, furniture, and so forth; but in case there is no such person, the property man attends to these details himself.

It cannot be too strongly urged that from the very first as many "props", as much furniture or as many set pieces as possible (depending on whether the set is an indoor or outdoor one), should be used by the actors. In this way they will be better able to associate their thoughts, words, and gestures with the material objects with which they will be surrounded on the fatal night. If this is impracticable, that is, if most of these objects cannot be secured from the first, then at least suitable substitutes should be used. The presence of such fundamentally important articles as the wall in Rostand's "The Romancers", and the dentist's chair in Shaw's "You Never Can Tell", when used from the first rehearsals, always minimizes the danger of confusion of lines or business at the last moment.

The property man must keep a list of everything required; this should be a duplicate of that in the possession of the stage manager.

The Lightman. Sometimes even nowadays called the "Gasman." He is not indispensable, because almost always the regular electrician attends to the switchboard. However, some one should be with the electrician at the dress rehearsal and on the evening of the performance to give him the necessary light cues. Usually, however, the stage manager who holds the prompt-book where all the light cues are indicated can fulfill this function.

The Costume Man (or Wardrobe Mistress, as the case may be). Again the duties are simple. If the play is a classic—Shakespeare, for instance,—the costumes, in ninety-nine cases out of a hundred, had better be rented from a regular costumer. The costume man, then, together with the business manager, attends to the details of renting, and sees that all costumes are ready for the dress rehearsal. If the costumes are made to order, the matter is supervised by the costume man. But, as with everything else connected with the best amateur efforts, there should be some expert adviser, not so much one versed in history and archeology as an artist with an eye for color and style. The director in any event must be consulted, so that lights, scenery, and costumes may harmonize. Details as to costumes are to be found in many books, and need not here be discussed. In spite of a good deal that has been written to the contrary, historical accuracy is not of vast importance: so long as there are no glaring anachronisms, Shakespeare may be presented with actors wearing pre- or post-Elizabethan costumes, provided they are beautiful, and harmonize.

Among the thousand and one minor details of producing, there are some which in large productions might be assigned to specially appointed individuals, but most of the duties to be briefly enumerated below may easily be given over to the stage manager, property man, or costume man, or even to the lightman.

Handling and Setting of Scenery and Furniture. This is usually taken care of by the property man and his assistants, under the direction of the stage manager. As in every other branch of the work, all details must be planned beforehand, and recorded.

Music. The music cues should be marked in the stage manager's prompt-book. Incidental music, whether it be on, behind, or off-stage in the orchestra pit, ought to be rehearsed at least two or three times. On the occasion of the performance, the stage manager gives directions from his prompt-book for all music cues.

Crowds or Large Groups. The management and rehearsing of crowds or large groups is considered under "Rehearsing" (p. 58). Here it will suffice to state that it is well to have an assistant whose duty it is to see that the "supes" [supernumeraries] are conducted on and off the stage at the right time.

Among the further details which must be looked after are the duties which are sometimes left to the stage manager: the ringing of bells, calling of actors at the regular performance, etc. A "call boy" may be delegated to do this.