How to Produce Amateur Plays: A Practical Manual

by Barrett H. Clark

A great many more factors go into the making of a successful dramatic production than may at first be apparent. To organize a staff whose duty it is to furnish and equip a theater, hall, or schoolroom; to arrange and efficiently run rehearsals; to supply "props", costumes, and furniture; to manage the stage during the performance—all this is next in importance to the acting itself.

Of late years especially it has been made clear that the art of the theater, although it is a collaboration of the brains and hands of many persons, must be under the supervision of one dominating and far-seeing chief. That is to say, one person and one alone must be responsible for the entire production. Except in rare instances this head cannot know of and attend to each detail himself, but it is his business to see that the whole organization is formed and managed according to his wishes. The function of this ideal manager has been compared with that of the orchestral conductor: it is he who leads, and he should be the first to detect the slightest discord. While the foregoing remarks are more strictly applicable to acting and staging, it will readily be seen that if the same leader is not in touch with the more practical side of the production, there is likely to arise that working at cross-purposes which has ruined many an amateur as well as professional production. While a great deal of the actual work must be done by subordinates, it should be clearly understood that the director has the final word of authority.

Much in the matter of organization depends upon the number and ability and experience of those persons who are available, but the suggestions about to be made as to the organization of a staff are based upon the assumption that the director is a capable person, and his assistants at least willing to learn from him. As a rule, he will have plenty of material to work with.

The Director. The producer, the head under whose guidance the entire work of rehearsing and organization should lie, is called the director. However, since this position is often held by a hired coach or by some one else who cannot be expected to attend to much outside the actual rehearsing, there must be elected or appointed an officer who is directly responsible. This officer is:

The Stage Manager. As the director cannot always be present at every rehearsal, and as oftentimes two parts of the play are rehearsed simultaneously, it is evident that another director must be ready to act in place of the head. It is chiefly his duty to "hold" the prompt-book and keep a careful record of all stage business, "cuts", etc. At every rehearsal he must be ready to prompt, either lines or "business"—action, gestures, crosses, entrances, exits, and the like—and call the attention of the director to omissions or mistakes of every sort. In the event of the director's absence, he becomes the pro tem. director himself.

It is advisable—though not always possible—to delegate the duties of property man, lightman, curtain man, costume man (or wardrobe mistress) to different persons; but even when this is done, it is better for the stage manager to keep a record of all "property plots", "light plots", "furniture plots", etc.

It is also the stage manager's business to arrange the time and place of rehearsals, and hold each actor responsible for attendance.

On the occasion of the dress rehearsal and of the actual production, it is the stage manager, and not the director, who supervises everything. His position is that of commander-in-chief. He either holds the book, or is at least close by the person who actually follows the lines; sees that each actor is ready for his entrance; that the curtain rises and falls when it should; that his assistants are each in their respective places; and that the entire performance "goes" as it is intended to go.

The Business Manager. This person attends to such matters as renting the theater—or arranging some place for the performance—printing and distributing tickets; in short, everything connected with the receipt and expenditure of money. It is not of course imperative that he should have much to do with the director; the only point to be borne in mind being that every one connected with the production of a play should be in touch with those in authority. The business manager ought to have at least a preliminary conference with the director, and report to him every week until a few days before the performance, when he should be within instant call in case of emergency. The property, light, furniture, and costume people must naturally keep in close touch with him, although no purchases should be made without the permission of the director, who in this case must be at one with the club or organization.

The Property Man. The duties attaching to this position are definitely and necessarily limited, but of great importance. Working under the stage manager, he supplies all the objects—such as revolvers, swords, letters, etc.—in a word, everything actually used by the actors, and not falling under the categories of "scenery", "costumes", and "furniture."