Lamoille newsdealer. [volume] (Hyde Park, Vt.) 1860-1877, 1874-04-22

Popping the Question, e" Two Bonny-
ca-tles." i" Woorlcock's Little Game, II
Every boiy's Frerd," Faint Heart
never won Fair Lady" " The Loan of a
Lover" - Too Much for Good Nature y
and " Checkmate require from FIVE play.
ers upward are all good. and perfect.
ly practicable, ..
Many amateurs are so ambitious that
they will not rest centent with less than
a 6ve.sc or at least a threc-act play.
Their ambition is often in an inverse ratio
to their ability lit is an addage of the
green.room that every supernumerary
thinks he knows how to render Hamlet and
Oihe'lo to perfectiou); but 1t is well some.
times to give them an opportunity to See
how much or how little they can accom-
plish by their lofty soaring. They car
take, for EXAMPLE, "A Cure for the
Heart Ache" The Heir at Law" " The
Honeymoon" The Rivals" Road 10
Ruin, She Stcops to Conquer" Sweet
hearts and Wives" The Wonder" '.Fa.
zio. ""Ignormar," "Cadestiue Marriage.
"Jpalous Wifi" The Inconstant " or
BELLS Stratagem." These, however,
demand, for anything like effective rem
dertug regular stage, with variety Of
seen 'ry, costume and properties, besides
marked taleut and large experience in
acting.
THE STAGE MANAGER.
After the play has been decided upon,
the stage manager should be chosen. He
onght to be the one who has most ac-
quaintancc with the stage, and he ought
not to be a performer. His rill must he
law; there mus b. no appeal from It If
he be performer. other members OF the
company may take exception to his ruling
under the impression that his opinion as a
manager is Influenced Wy his interest as an
actor aud thus suspicion and discord
may he eugenderrd. He must have en- ire
and absolute charge Of the stage business,
which means everything belonging to the
action of the play. Ho must be present
n every rehearsal assign to every actor
or actress his or her position; tell each
how to enter; how 10 gooff what intona.
'ions to give; what gestures TO make. He
should Indicate the facial expression and
by.p'ay; should carefully instruct in re-
gard to dress, and every particular Of the
character assumed.
If tie play yer, be dissatisfied with his di-
rcc,icus they may mention the TACT to him
in private, but during the reherSal they
shouln yield to him implicit obedience,
Should he feel inclined t. act upon their
Suggestions, he cpn do 50 at the mex, re-
hersal 1t Ii his du,y. likewise. to cast
the parts, and for this he should use his
best judgment aud discrimination. When
the parts are once cast there must be no
demur. Nevertheless, should he. after
one or more rehcrsals, discover that he
has made u mistake in assigning any OF
the characters. he should rec'ity 1t at once.
Those who may be changed ought not to
complain, even if the change should wound
their vanity little, siuce their private
f.e ling mus, give way to the genera good.
Nothing is more disagreeable or difficult
for the s,age-uanager than the arrange-
ment of the cast, Zach person is apt to
think that he or she is especially fitted to
be the hero or heroine aud as it is hard
to fud drama made up OF heroes and
heruines some Of the performers are una
vodably doomed to disappointment. Those
chosen for the MINOR ch .rcters should re.
member that they are as necessary to the
proper production Of the piece as their
historic superiors. If man or woman
has dramatic talent, it can be shown any
where. and i: often happens that one who
lakes u small part wins more laures than
the leading players.
The performers should not forget that
the position OF stage manager is as thank
less as it is arduous. Upon him rests the
entire responsibility; he receives none OF
the honors Of triumph, and gets all the
blame of failure.
THE PRoMPTER.
Next to the stage manager, the prompt
er raul in Importance. Sometimes the
two oficers are combined in the same per-
son. but this is not wise, as each has
quite enough 10 do. The prompier's po.
sltion is usually op the iett hand OF the
sta.e, near the green-room, where he takes
his and in full view Of the actors, though
unseen by the audience, with the text be-
fore him. He should be at every rehear.
sal as well as at the regular performance,
50 as to famiIlarlze the amateurs with the
sound Of his voice aud his manner CT
prompting. Learning when, where and
how much to depend upon him at rehearsal,
they will not be VI . loss when the trying
hour comes,