TO THE members of an audience attending a theatrical performance it may appear as though the actors were the entire show and the only principals concerned with the carrying on of the affair. Of course the man in the box office, the ticket taker, and the ushers have been in evidence, and there is the orchestra and its leader. Others than these have not been seen or heard, and so perhaps are given no consideration. Who the "others" may be, or if there are any others, and of what their services to and interests in the show may consist, would puzzle many theatre-goers to determine with any degree of accuracy.
Let me take you "behind the scenes," as you may call it, but "back-stage," as we say in the theatre-world, in this matter and disclose the forces that move the puppets on the stage; the powerhouse that generates the current that moves the whole machinery of production. The intricacies of theatre management may come as a surprise to you.
Chief of all comes the owner, the promoter, known to the profession as the Theatrical Manager. He it is who selects the author of his contemplated production, and also the writer of the lyrics and the composer of the musical score. He engages the producer, the creative genius who realizes the possibilities of the production and directs and rehearses it, and the principal actors and singers, and some of the members of the chorus as well, but the producing director usually recruits his own chorus and dancers. A most important step is the choice the manager is to make of a producer, or production director, on whom is to devolve the entire handling of all matters back of the curtain line from the day of his selection to the rising of the curtain on the initial public performance. He is well aware of the importance of this choice, and places his reliance only on a man known to be thoroughly experienced and competent in this line of work. Having selected him, the theatrical manager steps out of the picture and the producing director assumes control. And this control is absolute in his domain. Not even the power behind the throne, the man who placed him in his position, is allowed to interfere in any way whatsoever with his orders or plans. The wise theatrical manager possesses full knowledge of this and keeps hands off. Should he venture to countermand a single order of his producer, the latter would be certain to say "Take your show and direct it yourself," and walk out.
And the reason why no producer of the first magnitude will brook interference, opposition or disobedience from any source is, that he is held strictly responsible to the owner for the form that the show takes and for the manner in which it is performed. His own reputation is always at stake in every production of which he accepts control. He makes the show a success, if he is that kind of a producer, and is entitled to the credit of successful accomplishment. If, on the other hand, he gains a reputation of "breaking" rather than of "making" the show, his career is abbreviated in short order. His job depends upon making good; he is the "realizer," the dominating and master-mind of the show.
Let us name some of the duties that devolve upon the ubiquitous producer:
He must know by heart the book, lyrics and music of the entire play, and bring out to the full, in all of the actors, principals and chorus, every possibility that their parts, acts, songs, dances and groupings permit or demand. All the comedy must be developed and emphasized, and the personality of the cast studied and properly brought to the fore. The principal artists engaged for the production are under his sole direction. He creates all solo and ensemble dances; gives all readings of the dialogue, sets the dialogue syllable by syllable, devises nearly all the entrances and exits for everyone on the stage, indicates the tempo for all songs and dances.
He must be capable of inspiring the lyric writer and composer, the costume designer and the scenic artist. He must possess imagination, suggest the locale, color and architecture—the atmosphere—of all scenes, select the color schemes for all costumes and scenery. He makes up all orders for scenery, costumes and properties, and must, to that end, know both qualities and costs; prices per yard of silks, satins, and every kind of material required in the production, whether for wardrobe or in the scenic effects. He must order the correct number and size of shoes, stockings, tights, wigs—everything, in short, that the company supplies to the players, which is usually all save the street clothes which they wear into the theatre. The orders for properties include all furniture, rugs, bric-a-brac, draperies, and everything else that serves to dress the stage or the performers. If period furniture is called for, the producer must be competent to say what is correct for the locale and the period.