The evening telegraph. [volume] (Philadelphia [Pa.]) 1864-1918, 1871-04-24
DRAMATIC sKETCHEs-No. 1.
The PrOmpter-Long-de1aye Tribute to
an Old Public FunctiOnary.

economy of theatre The most refreshing igno-
rance upon stage matters is constantly shown by
men who are fully abreast OF every other topic.
Professional people even-lawyers, doctors, news
paper men-pelsons whom we know TO have q
trained eye and intelligence swallow the old
fables gravely, and puzzle the actor whom
they may chance to meet with the owl-like
sagacity OF their theatrical views. That
the stage is a kind of sealed region does
not altogether explain this ignorance;
for although 'no admittance" is the rule, yet the
mystic ground can nevertheless be approached In
some way, by almost any one who cares enough
about 1t to press the matter. Further, we are
sure that there ia not the same ignorance among
actors of the practice. Of other professions. Not
that actors have often the knowledge necessary to
the practice OF, say, law OF medicine, but they
know the rules Of these professlons-of college
life, OF debate, etc.-better than lawyers doctors
know the order OF an actors life, and this, notwlth-
standing that the Bar Association and the Dissect-
ing Room are almost as much unknown ground as
the region Behind the Scenes. We intend from time
TO time to do what in lies towards putting an i'm
perfectly understood subject in its true light.
IT, in furtherance OF this idea, we speak first OF all
of the prompter it is not because think that that
individual, Indispensable though he is, ranks oil his
stage companions In Importance. But his position
is one that is least Of all generally understood We
long ago made VOW that II any enterprisng pub
Usher ever gave us show on this subject the
prompter should have justice. Let us see, then,
what is the extent Of his claim on the amusement
seeking public.
We assert that the prompter is the hardest-worked
man In the theatre. The actors are all Off Of many
scenes and are severay entirely out OF the casts Of
plays, but the prompter is essential part Of
each scene in every piece, day in and night out.
The amount Of WEAKNESS that this induces is hardly
to be appreciated by the lucky individuals who have
never tried it, The attention is necessarily on the
stretch. TO relax the tension for a single instant
1--WE speak now of performance might be to involve
O scene in neXtrcable confusion The weight Of
this responsibility is the prompter from the time
the curtain rises until it falls and it is as firing
the playing OF heavy part
There are, to be sure, some gradations in this
anxiety. The prompter grows to know the material
OF his company, which members OF 1t are surest
footed and which are the most liable to "stick " and
although, If he is trusty man, he will follow all
with like fidelity, yet as regards his own comfort
the difference Of material is important. The best
actors, it may be stated, are very often the most
nervous and, although really perfect In their parts,
require the prompters constant watchfuness; while
the respectable billiards OF the stage not seldom
"dead-letter" actors, and could of themselves en-
tirely dispense with any assistance
The common idea is that the prompters work at
night constitutes his entire labor. Never was
there greater error for rk9ome though 1t is 1t is
the least part OF his duty During all the long and
tresome rehearsals he must hold his book as vigi-
lantly as at night. For other people there
and holiday, but for him. In very many cases he
s virtually stage manager. He not only follows the
dialogue but he directs the business the rehear
sal proceeds. The small people OF the piece, the
corps de ballet ETC., especially under his direction
even when the stage manager actively conducts the
rehearsal, which as we have intimated he does not
do at all, very frequently. The rehearsal is con-
stant fret and worry to the prompter for the piece
is not properly digested In the morning there will be
most assuredly series OF bunders at night
More than this, the prompters day work does not
by any means end with the rehearsal. There are
hands as well as from the actors. He has, for In
stance, to draw out for the chief carpenter lis-or
spot" 1t is caed-of the various scenery to be set
for the evenings performance. He follows to GER
tain extent the traditions Of the theatre in this task,
but 1t requires, too good judgment and thorough
knowledge OF the resources OF the stage he is work
ing. The "plot" must be made out with detailed
exactness; everything needed in every scene must
be particularized and its exact position assigned.
This is a-mportant, for with the exceptional
sions when new scenery is painted for play the
scenes are not often set at rehearsal
or at least not perfectly. There are some things
that must be, and this ia one OF them.
In the matter OF properties, also, is the
prompter directly responsible. properties" is
the generic name for all small articles
used by the actors in the course of perform
ance. They are Of Infinite variety and the
person whose business 1t is to MAKE provide, and
take care OF them (of whom we may speak more
fully on future occasion) is one Of the insttu-
tions OF the theatre. The prompter, IN addl-
ton to his scene-pot, must also draw out
propeTty-plot, detailing with exactness
all the props" required for the piece pieces to be
acted at night, explaining where they are to be
placed or to whom they are to be handed. 1t is a
task OF great nicely. Any one can see how posi-
lively essential 1t is that the dagger, the miniature
the purse OF gold the package OF love letters the
sword that breaks so easily across the knee-that
such things should be exactly there at the right
net and IL they are not, Mr.. Prompter Is to blame.
Besides all these, the prompter has yet other
duties. The books and manuscripts OF the
theatre are in his charge. Many OF the plays per
formed by stars, nowadays, are private property
and imprinted. The actors furnished with
written parts which must be carefully gathered to-
gether after the run OF the piece, and returned to
the owner. The prompter is responsible for the
safety OF all such manuscripts. Furthermore, he
generally, very often, makes out the bills OF the
theatre and inserts the advertisements in the
papers This does not require much labor, but it ii
a work that needs taste and tact 1t is mentioned
to show the varied talents necessary In man who
would ill this difhcult position well.
or all impracticable things, it might be thought
that suffering prompter was the toughest. At
first blush it would seem indeed that he might al
well have no tongue as one not perfectly under hi
control. Yet we have known man who stutteret
worse than earthquake, and yet who was 81
valuable TO his proprietors that they would have
raised his salary three dollars a week any tlm'
rather than have lost him. This worthy man
which his name was Brown-was long attached to
leading Boston theatre. There this pecuarit
about him. At rehearsal, and at dag work generally
mis- tongue led him such a life that he and hi
friends were very often sick to death OF it.
seemed, however when the demand was really upo
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