Pittsburg dispatch. [volume] (Pittsburg [Pa.]) 1880-1923, 1889-12-29

the drnmaiist saw In Pdrson adams won.
derful character for Mr.. Thofne. Next comes
the question Of the theater and the company.
What win suit the Vaudeville will not suit
the Adelphi, and what might do very well
for the Lyceum is impossible on q smaller
stage. II Tor 8 small theateF, the fewer
scenes the better; if for fashionable one,
some fine modern interiors" are indis-
pensable-
STAGING A PLAY.
A subject selected, play written and ac-
cepted, the play is not yet completely
made" It has to pass through the crucible
of stage management, which begins with
the selection OF the actors to perform in it.
In England, as rule, this is left agreat
deal to the author, who in many cases not
only directs the rehearsals, but Hcasts the
piece, " designs the scenery, and invents the
business. The popular notion that a stage
play is o crude piece of work, handed over
to be completed and polished by profess
sional stage manager, may be put aside as
quite uninstructed. In some cases, it is
true, the authors work ends with the writ
ing of his manuscript A professional
stage manager Is valuable as an
assistant to the author, but
the dramatist who cannot produce
his work without such assistance is ignorant
of one-half of his craft Perhaps the best
living stage manager of his own pieces is
Mr.. Dion Boucicault. Mr.. W. S. Gilbert
and Mr.. Pinero are also admirable. In
many cases, however, too little is left to the
actors own invention; he is made to speak
his part and do his business" too often,
like machine. The great secret of success
full stage management is to select performers
fitted BY nature for the character they rep
resent, and it is, believe, dictum OF Mr..
Boueicault that he would rather have to
deal with an amateur whose personality
fitted character than With the most expert
enced actor who didn't possess fitness" /"
A play, suppose, cannot be considered
quite made" till the critics have decided
as to its merits, and the public have pro-
nounced as to its attractions. Here in En-
gland successes are often determined by the
first nights reception and the next morn
ing's criticisms; but in many cases both re-
ception and criticisms are quite illusory.
Pieces like "The Private Secretary and
"Our Boys" run for thousands of nights,
though pronounced on their first production
practically worthless; while plays applsuded
to the echo often fail to draw money enough
to pay the theater gas bill. 1t often hap
pens, also, that play of merit fails for
many weeks to draw money, and then,
through the patience and confidence of the
management, is played to crowded houses.
SECRETS OF SUCCESS.
Very frequently, indeed 1 may say very
generally, it is not the play as whole that
attracts, butsomething in it-some situation,
some novel character, some remarkable
piece of acting-that catches the public
fancy. The difficulty always is, to get audi
ences; audiences, when secured, are easily
entertained. Wild horses will not draw the
public to see certain plays, which, if once
seen, would be heartily enjoyed! One great
factor, perhaps, is taking title; another,
popular and attractive company.
fear, after all, that have not succeeded
in explaining the mystery, how plays are
made; but perhaps some of my remarks may
be of interest to that outside public which
interests itself in affairs theatrical What I
have written establishes, at least, that plays
are not altogether made Sin the study" and
that dramatist, to be successful, must COM
bine with some literary gifts the craft Of the
stage manager, the prudence of the manager
proper, and technical knowledge of the
necessities and resources of the theater.
How easy a dramatist's life would be, if his
work began and ended with his man
uscriptl The play which may take
some months TO write takes sever
al more to perfect and produce-in
word, to make" into coherent theatri-
cal production; and even then, when all is
done that can be done, it is often labor
thrown away. Seen in the full glare of gas
light or electric light, the carefully planned
structure turns out to be built on sand, or.
comes down, through some inherent weak
I'll -f, L.
failure to please and never remember former
services, the poor dramatic author has to
creep home and "try again" The dramat-
lists life Is not a bed Of roses after ell. See
ing how hard he has to strive and how un-
certain are his rewards, he might. think,
receive little more courtesy from some Of
those who pronounce Judgment upon his
work. ROBERT BUCHANAN.