St. Paul daily globe. [volume] (Saint Paul, Minn.) 1884-1896, 1885-05-24
SECRETS OF THE STAGE, :
An Inside View Of the Difficult and In
trioate Science of Stage Man
agement
The Prompter at His Stand His Difficull
Task of Watching Mechanical
m Details:

The Prompter at His Stand-His Difficult
Task of Watching Mechanical
nH Details.
A Study of Gas Effects, Scene Shifting
and the Rise and Fall of
the Curtain.
The Work of the Property Man, Stage
Carpenter and Other Neces-
airy Funct1onaries.
Correspondence of the Globe
CHICAGO, May 21.-''Few people in an
audience have any idea of the amount of
labor required to induce smooth perform
ance of a play even after it has been set
going" said veteran stage manager of one
of the principal theaters to me the other
day. Five distinct departments actors,
musicians, carpenters, property men and
gas men-must work tremendously without
the slightest hitch or delay. Each depart
ment has its own boss. but all are subject
to the stage managers orders. But come
with me to the prompt stand, and III
SilUW YOU HOW We WOIh IL SfiOW.
On the right of the stage facing the audi
ence. fastened against the wall of the pro
scenium arch, were bewildering array of
gas pipes, speaking tubes, electric annunci-
ators, spring bells, and dynamo for generat-
ing electricity. '1rhis," said my compan
ion, opening box that looked like a small
hand organ, lis the gas stand" When the
cover was raised it revealed some twenty
highly-polished wheels, and in front OF each
wheel was an engraved plate designating
the part of the house with which it was
connected, and a movable point showing
how far the valve was opened. "Y on see
how many different supply pipes it is neces-
sary to have under separate control" SAID
the veteran. ''Here are wheels for the six
border lights which are
HUNG OVER THE SCENES.
from the arch away back to the wall. Foot
lights, ground, dressing-rooms, and all
different sections of the auditorium have
separate supply pipes. On this electric
machine you will see corresponding plates,
and when connection is made by this little
movable bar all or any part of the gas in the
theater can be lighted. Some of the the
alters use the incandescent electric light en-
tirely, but it is expensive, difficult to
graduate nicely, and actors do not like it, as
it is whittier light than gas and requires
more care in the actors makeup. Its chief
advantages are comparative GOODNESS and
freedom from danger.
''Do you see these three lights? One
goes to the fly-men, who work i'll the gal
lery overhead. They raise and lower the
curtain, act drop, borders, border lights,
ceilings and drops. Through this pipe /
order slow, medium or quick curtain. 1t
may seem strange to you, but the speed
with which curtain is lowered has often a
great deal to do with the success of an act
OF tableau AT rehearsals the effect is often
tried several times before the stage manager
is quite satisfied. A slow curtain will kill
a scene of spirited action, while a quick
curtain will spoil the effect of an emotional
scene, and many
A GOOD COMIC SITUATION
has been ruined by slow curtain. This
second tube goes to the front OF the house.
and by it the manager can tell it there is
anything wrong with the scenery or lights,
which / am unable to see looking at the
stage only from one side. The third tube
goes to the leader of the orchestra. These
electric buttons ring bells in the different
dressing rooms, and save the call-boy he
trouble of going round to call for the actors
for the different cues. This bell goes to the
music room to call the leader to begin the
overture or start or stop music played under
the stage, as is often done. This bell is to
the men who work the traps in spectacular
pieces. and this one is to the curtain man.
Il will now explain to you the duties of
the various departments. In most tleatels
the stage manager is also the prompter. He
holds the book, tells the boy when to make
a call, rings up and down, starts the music,
sees that scenes are properly set, the lights
correct. and small properties given to the
actors who use them. The leader of the
orchestra consults with the manager and
stage manager as to the most suitable places
in the drama for the Introduction CT Incl
dental or
DESCRIPTIVE MUSIC.
and when these are determined on he makes
out a list of words or ''cueS," at which the
music is to begin or stop, or change into
movement Of a different character The
prompt copy is marked with every music
cue, and should there be any mistake l can
get at the leader with this tube there. The
volume of sound the orchestra gives to
music which accompanies the fall of the
curtain has its effect upon the success of
an act If.payed too loudly, OF continued
a second or two too long it browns the APP
plause, the public tires of wasting its ener-
gies uselessly. and by the time the music
has ceased so have the signs Of approval
and the call is killed. You see on what
apparent trifies success often hangs.
The carpenters shift all the scenes and
set them under directions of the scenic
artist. In elaborate scenes the artist marks
with lines the exact places and angles where
the pieces are to stand. In interiors, where
ceilings are used the decorative lines of
the borders are the guides for the walls OF
flats. The carpenter and his assist
ants work all traps, borders and the curtain.
In this theater there are twelve persons en-
ployed in this department, nine of whom,
however, are paid by the performance, re-
ceiviTg 81 for each representation. The
other three are paid regular weekly salaries.
To
THE PRoPERTY-MAN'S DEPARTMENT
belong all furniture, carpets, curtains, orIla-
lnents and all small articles used by actors
and known as ''hand" or ''Side-propS."
Among these are letters, books, guns, PTS
tolls, purses, money, cradles, candles, lamps,
ETC. Live props such as cats dogs, babies,
goats, donkeys, are under his charge and are
much disliked, as they cause so much
trouble. The side-prOps are taken from the
property room by the call-boy, or some other
whose special duty it is, and delivered to the
actor and afterwards returned promptly to
its proper place. A good propertyman is
rarity, for he must be something of a car
penter artist. mOdeller and mechanician.
Most of the vases, suits of armor, life-size
statues are made by the property man out of
papier mache, and his ingenuity is really
quite surprising in this direction. In this
theater the property man has one regular
assistant and two night aids, who handle
heavy carpets and furniture. A carpenter
is not obliged to touch a prop, nor is the
property man expected to