The evening telegraph. [volume] (Philadelphia [Pa.]) 1864-1918, 1867-10-11

of the actors discontent mace BlOIlOuS SUM
mer.
MoDUs oPERANDI OF STUDY AND REHEARsAIs.
The various steps in the production of new
play are:-First, the reading of the manu-
scripts by the stage manager; second, a read
ing of the play, when accepted, to the COM
pany selected and a casting of the piece /. G.,
the appointment Of the different parts to the
different members often a matter involving
considerable deicacy, acumen, and tact; then
follow various rehearsals, often eight nine, or
ten, superintended by the star, or stage
manager, and finally last grand rehearsal,
to which the critics are often invited as body.
Attendance on these rehearsals is obligatory
on the actors, fine being imposed for non
attendance.
The earlier rehearsals are conducted in every
day costume, with the part simply read. But
the final rehearsal is in stage dress, and
without parts or books. The services of the
cOpyist meanwhile are called into requisition,
and each performer has his or her separate
part fully written out with the "cues" at
tached; each 'cue" consisting of the four last
words of the preceding speech.
1t would at first be considered en- easy task
to merely commit to memory the emanation
of the brains of others. But it is really more
difficult to study CcrJatim et Eerdtim page
written by another than to write page of
original matter-as our readers can satisfy
themselves, if they so choose, by experiment.
WHAT AN ACTOR MUST KNOW.
But in addition to his daily and nightly
labOrs, the actor must possess what is even
more than the capacity for worll-education.
There was an old saying-"Only genius or
fool can be an actor" but certainly, what
ever may be the fate of a genius on the stage
in 1867, there is no chance whatever for a fool.
To be successful the actor must not only be
nj lint 1aortnad ITa 11p1arSfonI
thoroughly what very few do understand at
all, his native language; he must be skilled
elocutiOnist;, q close, exact Shakespearian
scholar; versed in belieS-lereS; conversant alike
with the classics and the French; an flt in the
general details of history, with an eye to the
proper knowledge of costuming; familiar with
all the technicalities of the stage-a familiarity
which can only be obtained by practical ex-
perience; graceful fencer; an equally graceful
dancer, a tolerable musician Gin many cases)
possessed of sound physical organization,
and accomplished in the arts of the toilet and
OF dress. If he be and have all this, then, with
natural gifts and plentiful degree of patience,
he may at last obtain a high position in his
profession. The same remarks apply to
actresses, with but little differences, which
will at once suggest themselves. Assuredly,
the dramatic is neither despicable nor a
dilletanti career.
LIFE BEHIND THE SCENES.
This branch of our theme has been so BIZ
written that there is scarcely need for words.
There seems to be fascination about exist
ence on the other side of the footlights, desire
on tI0 part of the public to witness it, which,
to those familiar with it, is unaccountable for,
really, there is no charm about it. ''Behind
the scenes'' is a very dull place indeed. All
the illusion vanishes, all the magnificent
tableaux and wonderful stage effects become
very tame and very simple. The dresses lose
their splendor and the diamonds their lustre;
and the kings, queens, villains, heroes, and
herOines are found to be ordinary people, hard
at work. The "stars" have their own dress
ing-room; but the stock company have rooms
in commOn-while the apartments for the use
of the supers and ballet girls are of the most
primitive description. The rooms for the males
and females are, of course in different portions
of the theatre but, as a rule, "behind the
scenes' is common ground to all; though
certain employees occupy certain pests, and
the leading actors cOngregate during the
'waits" in the "green room"
THE COMPENSATION OF AoToRs-FU1L AND CON-
PLETE LISTS OF THE AVERAGE SALARIES OF
THEATRICAL PERFORMERS.
There is this popularity in the pecuniary
rewards of theatrical people-the successful
stars receive compensation oftentmes far in
excess of their industry or talent, while the
haTd-Working members of the profession are
in proportion underpaid. AS rule members
of the stock company are more adequately re-
warded than where the star system prevails,
because in the latter case the star absorbs the
major portion of the receipts, and a lower
grade of talent among the stock is permitted.
As a rule, also, performers on Broadway receive
higher salaries than those on the Bowery.
Each theatre has its own scale of salaries, but
the subjoined table, compiled from reliable
sources, with great care, exhibits the average
compensations of professionals of all classes
in this city at the present time.
Business managers receive a salary and a
percentage of profits, amounting in all to $4,000
| per annum and upwards. Stage managers re-
ceive from $50 to SIS per week; the leading
| man from $50 to SlOO per week. The first old
man rejoices his aged heart with from $50 Ia
| S75 weekly, the first comedy laughs for a
similar compensation; the eccentric receives
| weekly from $50 to $50; the first heavy mar
or villain, stains his soul for $40, $50, or $50
the first walking gentleman receives from 50!
to $35; the second old man from $40 to $50: the
second comedy from $l8 to $25; the seconc
walking gentleman from $l5 to 500 the NAL,
utilities from $l2 to Sl5.
The leading lady and the first old woman
receive about the same compensation as thei
male equivalents; the soubrette earns from S3C
to $50 weekly; the second soubrette is entitled
to about half that sum; the walking ladies' re
ceive from SIS to S35, while the balance of tn,
actresses are made happy on smaller amounts
The ballet girls exhibit such charms as then
may possess for SS or SO per six nights: whii,
the magnificent supers throw themselves ava,
for thirty-seYen cents performance.
Tho pTOYpTtar TpgaiVas NUaalyIyy IL