[15] For a description of modern lighting equipment for a Little Theatre compare the section on the Theatre in the School in this introduction.
[16] Clayton Hamilton, Seen on the Stage, New York, 1920, p. 239.
[17] Robert Emmons Rogers, President of the Boston Drama League and Assistant Professor, specializing in modern literature and drama in the Massachusetts Institute of Technology, was born in Haddonfield, New Jersey, in 1888. He writes that his Anne Hathaway "was a particularly wild idealization based on Miss Adams as Peter Pan," and that even at eighteen he knew that his portrait of the girl, who was to be Shakespeare's wife, was not historically correct. Permission to perform the play must be secured from the author.
[18] George Pierce Baker, Dramatic Technique, Boston and New York, 1919, p. 47.
[19] B. Roland Lewis, The Technique of the One-Act Play, Boston, 1918, p. 211.
[20] Further interesting information on the reading and the study of modern plays in the schools may be found in the valuable article by F. G. Thompkins of the Central High School, Detroit, called The Play Course in High School, in The English Journal for November, 1920, and in the same issue, in the list of plays produced by St. Louis High Schools, prepared by Clarence Stratton, Chairman, National Council Committee on Plays.
[21] There is a comprehensive list of books published by the Public Library of New York that is an indispensable guide to amateurs interested in Little Theatres and play production and in matters connected with lighting, scenery, costumes, and theatre building; it is W. B. Gamble, The Development of Scenic Art and Stage Machinery, New York, 1920. Cf. also the articles of Irving Pichel that have appeared from time to time in The Theatre Arts Magazine. The three following books are especially valuable for school theatres: Barrett H. Clark, How to Produce Amateur Plays, Boston, 1917; Constance D'Arcy Mackay, Costumes and Scenery for Amateurs. A Practical Working Handbook, New York, 1915 (the illustrations are especially valuable); and Evelyn Hilliard, Theodora McCormick, Kate Oglebay, Amateur and Educational Dramatics, New York, 1917.
[22] For the explanation of this and kindred technical terms, see Arthur Edwin Krows, Play Production in America, New York, 1916.
Cf. Maurice Browne, The Temple of a Living Art. The Drama, Chicago, 1913, No. 12, p. 168: "Nor is this just a question of stage jargon; that man or woman who would establish an Art Theatre that is an Art Theatre and not a pet rabbit fed by hand, must be able to design it, to ventilate it, to decorate it, to equip its stage, to light it (and to handle its lighting himself, or his electricians will not listen to him), to plan his costumes and scenery, aye, and at a shift, to make them with his own hand."
[23] Copyright, 1912, by Harper and Brothers. Copyright in Great Britain. All acting rights both amateur and professional reserved by the author.