The Arkansaw traveler., 1884-10-25
THs PLAvnUuss pRomrrEn.

TEE PLAvuUUss pRoaGPTER. lExchAage.I
 .I teif yeu tle pronpssr is the bsuiese man on the stage or eShind the scepas of theazTe,D said . veteran a0 Newask Nssvs reporter. The people who oc- cupy the seats in the theatre never think of the psompter, unless s0msahins eoes
 wrong, and then he is thought of d. together too much to suit us. ! tell you, ar, q is the most trying, responsible, and yef the most thankless jok in : theatre. He is the hardest worked man by all odds, and it is upon his head that all the
 abuse falls, whether he deserves it or
 not, if everything don't run smoothly. There is no interval of repose or rest for
 him. He is an unseen power, and an al. together unappreciated man. There is a vague idea that the man who holds the book is shut up in box, with his eyes rivefed upon the pages sf the book, and
 that he does nothing eise but sit there and prompt the actors when they break
 in their lines, ignorant entirely that the responsibility ot keeping the play straight devolves almost entirely upon him. A
 little thing, such as an actor going on or of the stage at the wrong time, a mistake in dialogue, hitch in the scenery. trouble with the properties. and a hun. dred other biundefs may throw the whole performance into a state of confusion, and II IS the prompter who is to get the
 things straight again and start thess oii
 on the right track. Such things fre-
 quently occur and are righted so quickly
 that the audience are not aware that any,
 thing wrong had happened. All tie
 other employees have a little time to
 spare. but the prompter is kept going.
 Few persons who have never beer
 behind the scenes during the performance
 of an average play know what mass of
 ropes, blocks, tackle, flies, wings and
 general medley of props' arc required
 to make the thing 20, and it is the
 prompter who has to sec that they all do
 go. If he don't sec to it, the manager of
 the theatre, the manager ofthe company,
 the stage manager and the leader of the
 orchestra all pounce upon him, each one
 making 1t hotter for him than the other
 Let me give some idea of the work of
 prompier in an average theatre. When
 It IS decided to put piece on ,he boards the manuscript or book is placed in his
 hands. The author will be on both sides
 and behind him at once, particularly lift
 is the authors first effort. The stage
 manager wants to be just where the
 author is, and the trouble begins as soon
 as the prompter gets the book. It never ends. The author is anxious, and is con- tinually bothering about omissions, alter
 ations and IS making impossible pro- positions all the time. This is at a re-
 hearsal, remember. The prompser notes down the positions Of the various char aeters in the different scenes, in fact he studies the whole play. By the time the piece is ready for its first night the prompter should know the whole play. Alter understanding and writing out the scene plots. where the various scenes are to be placed, or how and when cer- tain sets can be advantageously located, he puts on paper the various articles that each actor or actress will use in the differ | ent scenes. These are for the guidance of the property man. Then the music | cues are looked after in the interest of the leader of the orchestra. He is thus l informed how many bars to play at all | points Of the piece. Then the supers are attended to and the piece is ready | for production.
 The stage letters. wills, documents or | whatever writing is employed in the play are all prepared by the prompter. They are written out in plain, bold hand and | are in the custody of that functionary all the time. So far as the prompting is con- cerned, that is not so very difficult. as he can by instinct tell when the actor is fer words. You can generally put them right quickly. Some can take Pantomimic signs, but others have 10 take the word or go all to pieces. :. :s very difficult at times to throw your voice so | that the actor can catch il and the audi ence be none the wiser.
 When the prompter arrives at the he usually gets there early he calls his right and left bowers, the call boy, and the gas man, and pre- pares to deal. He first gives the boy the order ten minutes which sends him of to cry out those words to the actors to in- form them that at the end of that time they will be wanted. He next orders the overture, and this is announced to the Then the music is billed in, while the gas man at his command turns tap which sends up the lights
 Beginners are then called, the next order being clear the stage and as soon as the beginners take their positions the prompter says ring up the curtain
 It IS all anxiety during the perform 'nce, which generally lasts two and aais hours. He must keep his head clear md his senses about him. There is a
 pistol shot, knock at the door, a bell to be rung,' noises of carriage wheels, shouts, trumpet calls, thunder or vhat not. Now all of these are to he