Afro-independent. [volume] (St. Paul, Minn. ;) 1888-1???, 1888-09-22
THE PLAY-PRoDucER.
A MRn who PEans and Directs the .sBusaa
ness" Of New Drama.

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stands for the time as the author, or at
least as the expounder of his ideas.
for, as a rule, the young dramatist Is
not an actor, and while he may know
the results he desires, Is ignorant OF
the processes by which they must be
obtained. Many managers are unable,
through the pressure OF other business.
to give their new plays or. trial pro-
auctions all the time necessary for
proper superintendence, and are, there
fore, glad TO avail themselves OF the
services of the producer.. More es-
pecially Is this the case with speetac-
ular plays, which require long time
In preparation, and In which there Is
an infnitude of work in drilling each
department separately and finally get
ting them into harmonious whole.
The manuscript Of new play Is
given to the producer many weeks II
advance of the date fixed for its first
presentation. He proceeds to read
it over and over again till. with
the assistance and explanation of
the author. he becomes thoroughly
imbued with the spirit, feeling and
purport Of the play. During this as
similating process he may see chances
of Improvement in the way of conden-
sation, elaboration or alteration, and
his suggestions In these directions are
often of considerable value. When the
producer is thoroughly familiar with
the play he begins to plan the "busi-
ness" or movements and actions of all
tho characters. This he proceeds to
mark on his prompt copy, and though
in rehearsals some modification OF his
preconceiyed ideas may be found nee
essary, the business" will usually
stand pretty nearly as at first ar
ranged. This branch OF stage art is
OF the utmost Importance, as many
plays of no striking merit are frequent
ly rendered attractive by novel and
ingenious bits of business, which at
once strike the spectator as natural
and unconventional.
Having thoroughly grasped the
scope of the action and the nature of
the characters who are to exhibit it,
the play-producer, in consultation
with the author or manager, who is for
the time his employer, proceeds to en-
gage the cast. In the plays of to-day,
fitness OF appearance and natural tenn
permanent are more easily obtainable
than considerable experience and
trained ability, and, therefore, great
deal of judgment has to be used in Sc
lecting a company. In the old days,
when actors and actresses could "play
any thing" they were engaged on the
merit OF their reputation. and their
appearance was not considered. The
progress of realism has brought about
n demand that actors should look their
part. Like all reforms and innova-
tons, this has not been an unmixed
blessing. We often, nowadays, get
the looks without the ability to act.
Where the two qualifications are hap
PLY united, then eyes, ears and intel
lect are alike pleased.
At the time while he is planning his
"business" the play-producer also
makes out his ''plots," or directions
for scene-painters, carpenters, prop
erty men, gas and calcium men. If
the new piece is to be a "heavy" one,
with many new and elaborate scenes,
his conferences with the scene-painter
and carpenter will be frequent and
long. Plans have to be dra wn and
models made and painted, and then ac-
cepted, modified, or rejected, as the
case may be. Where pieces are only
going to be tried for one performance
scenery is seldom especially painted,
and the taste and ingenuity of the
producer and the carpenter are taxed
in setting and combining old scenes so
as TO give them anewer, or at any rate
less familiar appearance. In spectac-
ular plays, costumers, armor-makers,
wig-makers and all the host of trades
men used have to be seen and con-
stantly overlooked.
The rehearsals once begun the play
producer knows little rest until after
the first presentation. On that occa-
sion he ''runs the stage"-sees that it
is properly set, that the people have
all their properties. and attends to the
ringing up and down of the curtain.
After the first performance his labors
generally end. though if alterations or
cuts are found necessary, he attends to
those the following day. The play
producers duties are arduous and re-
sponsible, and constant occupation is
not to be relied upon. Under these
circumstances it is only reasonable
that his remuneration, when employed,
should be liberal. He rarely gets
much credit from the public, and only
few of the critics. who thoroughly
know all the details and difficulties OF
stage preparation, think Ii necessary
to give him word of commentator.
~ j. Tribune.
s@S
-"Cozey Bell, a handsome female
Skye-terrier, had been the household
pet of a wealthy New York lady for