# Book of Etiquette/Volume 2/Part 3/Chapter 6

CHAPTER VI
MUSICALES AND PRIVATE THEATRICALS
PREPARATIONS FOR THE MUSICALE
The only time that music is not subordinated to other purposes of the evening's gathering, is at the musicale. Here it is the sole entertainment of the evening, and it reigns supreme.
In preparing for a musicale, invitations should be engraved and issued at least ten days in advance of the time chosen for the occasion. In inviting her guests, the hostess must be sure that she includes only those among her friends and acquaintances who understand and appreciate good music, and who enjoy it for itself alone. It is not wise to include people who are not fond of music (if there really are any such people!) for they are likely to be bored, and instead of listening quietly to the selections, talk and fidget and so disturb the other guests who are anxious to give their undivided attention to the musicians.
The invitations to a musicale require prompt answers. The third person should be used in both invitations and answers, as the occasion is strictly a formal one.
The drawing-room, in which the musicale is ordinarily held, should be bare of all unnecessary furniture save the piano, chairs for the performers, and seats for the guests. Programs may be printed sufficiently in advance to distribute at the musicale; they always serve as appropriate mementos.
THE AFTERNOON MUSICALE
The usual time for the afternoon musicale is from four to six. It is considerably less formal than a similar affair in the evening, although still requiring strictly formal third-person etiquette in invitations and replies.
It is usual, in issuing invitations for musicales, whether held in afternoon or evening, to have the word "Music" engraved in the lower left-hand corner. If a famous musician is to play his name may appear on the invitation.
The musical selections include various numbers to suit the tastes of the hostess, and those of her guests if she happens to know what they are. Sometimes there are vocal selections in addition to the instrumental selections. All professional singers and players are paid for their services, unless they themselves offer them free. It is very bad form indeed, to invite a singer or player as a guest, and then expect him to give his services. And yet it is done so often, by hostesses who think that they are following the dictates of etiquette to the highest letter of its law! If the performers are friends of the hostess she should present each one with a gift of some sort as an expression of her gratitude for their services.
The lighter music should always be played first, retaining the important numbers for the end. Many hostesses, when they have a famous professional for the afternoon's entertainment, start the musicale with singing or playing by unimportant persons, and end it with the performance of the celebrated professional. It is always pleasing to the guests—and also the professional himself.
The hostess, in receiving her guests, stands in the drawing-room and greets each one as he or she arrives. ​When the music begins, she seats herself near the door, and whenever a tardy guest arrives, sees that he is comfortably seated. Incidentally, it is bad form to come late to a musicale; it is disturbing to the performers and guests alike.
Guests do not remain long after the afternoon musicale. The chairs are removed from the drawing-room and ices, punch, little cakes and bonbons are served. As the guests leave, it is customary for them to thank the hostess for her entertainment.
THE EVENING MUSICALE
Similar in general aspect is the evening musicale and yet there are several details that are strikingly different.
It may be held any time in the evening. Again the hostess receives in the drawing-room, and again the selections may be either vocal or instrumental. But the general appearance of the entire affair is more ceremonious, more formal. And after the musicale, instead of simple refreshments, an elaborate supper is usually given.
This supper may consist of jellied bouillon, roast meats, salads, ices, confections, punches and coffee. If an important singer or player contributes to the share of the evening's entertainment he is invited to join the guests. After supper the guests converse for a half hour or so, and depart.
CARD PARTIES AT THE MUSICALE
Very often, instead of giving a dinner, a hostess will arrange several small tables at which four guests can be comfortably seated. She will serve light refreshments, ​5uch as dainty sandwiches, salads, muffins, bouillon and perhaps ices or coffee. After the light repast, the tables will be cleared and cards brought out.
If the hostess decides to have cards, after the musicale, she must mention it in the invitation. The guests may attend only the musicale, if they wish, and leave when the other guests begin the card game. But if the musicale is held in the evening, and supper is served, the guest who remains must also remain for the card games as a matter of courtesy and politeness. If he does not wish to play he may watch the others and join in the conversation during the intervals between games.
DUTIES OF GUESTS AT MUSICALES
The one important rule of conduct at the musicale is to maintain absolute silence during the selections. It is an unforgivable breach of etiquette to speak, fidget or otherwise disturb the guests while the numbers are being performed. Encores are permissible, but loud applause is undeniably vulgar. Silence, interest and attention characterize the ideal guest at the private concert.
Another duty of the guest is to be prompt. It is very disagreeable to the performers, and to the hostess, to have guests arrive late and disturb everyone. However, if one is unavoidably late, to offer profuse apologies, while the musicians are performing, is to make matters worse by prolonging the disturbance. Instead the guest should nod, take his or her seat, and after the musicale, seek out the hostess and offer apologies for not having been on time.
In taking leave of the hostess, cordial thanks for her entertainment are in order. Remarks about the playing of the guests are not very good form, especially if they ​are in adverse criticism. A word of sincere praise, however, is never amiss.
DRESS AT THE MUSICALS
Dress at the musicale is essentially what it would be if the occasion were an elaborate reception, and if it is given in the evening formal evening dress is worn. In the summer this convention may be set aside in favor of comfort.
ARRANGING PRIVATE THEATRICALS
Everyone enjoys private theatricals, amateur and otherwise—the hostess, the guests, and the actors and actresses themselves. It is an ideal means of entertainment.
In arranging a private theatrical, which is almost invariably an amateur venture, the first important thing to do is to find a play which is adapted to that talent which is available. It is wise to appoint a committee to read numerous plays and select for final consideration those that seem best fitted to the type of actors and actresses available. If one of the young men is naturally witty and bubbling over with hilarity and good fun, he must not be given a part that necessitates grave and solemn behavior. If he, and the other actors, are given parts not suited to them, the play is doomed to failure before it is even staged.
Unless the performers have had some experience in theatricals it is best to choose a comedy—for even a Greek tragedy in all its poignant simplicity may become a farce in the hands of unskillful actors.
Rehearsals are of vital importance. The members of the cast must rehearse and rehearse and rehearse again ​until they know their parts perfectly. They must be punctual and regular in their attendance of the rehearsals; continually to miss them is to spoil the play and a lack of preparation on the part of one actor is unfair to the others, for ultimate success depends on each one of the players.
The performance is usually given in the drawing-room of the host who issues the invitations, which, by the way, must be sent out two or three weeks in advance. The host must arrange for stage, lighting effects, seating facilities and all the other incidental details.
THE PLAYERS
In assigning parts care must be taken, as was pointed out above, in selecting that character which is most in accord with the player's own character. This is so important that it cannot be overemphasized. And when finally the correct part is chosen for him, he must learn his lines so thoroughly that he will be able, figuratively, to "say them in his sleep."
Costumes for the play may be obtained from any theatrical supply house. They must be of the style prevalent at the date of the play; Colonial clothes in a Mid-Victorian setting foredoom the play to failure. A curtain may also be hired from a theatrical supply house, but it is very simple to adjust one made at home by means of brass rings such as are used in hanging portieres. There should be a separation in the center so that the curtain may be drawn back from both sides.
Footlights may consist of a row of small electric lights, or a row of reflector lamps will impart the desired effect to the improvised stage. For wings, large Japanese screens ​will do or they, too, may be hired from the people who supply the costumes.
To give the effect of lightning, a magnesia torch is most effective. Thunder is simulated by beating slowly on a bass drum. Hoof beats seem quite real when produced by beating two cocoanut shells on marble.
The danger of stage fright can be lessened and almost obliterated after a sufficient number of rehearsals, and with that poise and self-confidence that comes with true culture, one should be able to stand before the largest audience without embarrassment or nervousness. It is one of the rewards of correct training.
THE GUESTS
As in the musicale, silence is essential. There is nothing more disconcerting to actors than to notice whispering, giggling or lack of interest in the audience. Whether the play is worthy of interest or not, courtesy towards guests and performers demands the appearance of interest.
Guests must answer invitations promptly. In fact, in almost every detail, attending a theatrical given in the home of a friend requires the same etiquette as is observed at a fashionable evening musicale. In departing, the hostess must be cordially thanked for the pleasant evening, and if the actors are friends of the assemblage and join the guests after the play, they, too, must be thanked for their share of the entertainment.
HOST AND HOSTESS
The host and hostess usually receive together at private theatricals. They stand together at the door of the draw​ing-room, welcome each guest and make the necessary introductions. When the curtain is drawn, they take seats near the back and rise to greet any delinquent guest.
After the play a supper may be served. If the actors are friends they join in the supper. But sometimes these private theatricals are not amateurish, but given by professionals, in which case the etiquette is somewhat different, and the performers may or may not be invited, as the hostess chooses.
Engraved cards are issued, and in the lower left-hand corner appears the name of the play and the leading actor (if he happens to be a celebrity). The guests are expected to arrive at a definite hour, and lateness in this case is inexcusable. If the professional players do not offer their services free, they must receive remuneration for them.