The Seattle post-intelligencer. [volume] (Seattle, Wash. Terr. [Wash.]) 1888-1914, 1891-05-24
THE AMATEUR ACTOR.
Mrs. John Sherwood Writes on
Theatricals at Home.
THE BEST KIND OF STAGE.
a cheap Set of FoofIights-Suitablc
Plays for Beginners-How to Make
Different CoIored Examinations.
tcoPYRreHr, 1891. BYm.x. ". sHEKwoopl

COPYRIGHT, 1891, BY NJ Z. W. SHERWOOD
"A poor thing, my masters, not the real thing
al al, a base imitation, but still good enough
nock orange, If you can not have the real
thlng. old Play.
Some of our opulent citizens in the
west, particularly in that wondrous city
chicago, which is nearer to Aladdin's
lamp than anything else have seen, have
oulit private theaters in their palaces.
This is taking time by the forelock, and
arranging for whole family of coming
histrionic geniuses
but when the whole arrangement must
be improyised land indeed, 1t is greater
fame to play in barn than on the best
stage) the following hints may prove
serviceable.
wherever the amateur actor elects to
play he must consider the extraneous
space behind the acting arena necessary
Tor ms exits and entrances and his theatre
cal properties. In an ordinary house the
back parlor, with two doors opening into
the dining-room, makes an ideal theater,
Tor the exits can be masked and the space
Is especially useful. One door opening
into another room is absolutely necessary,
II no better arrangement can be made.
The best stage, of course, is like that of a
theater, raised, with areas all about it for
the players to retire into and issue from.
However, drawing up the big sofa in
front OF the footlight and arranging a pair
of screens and a curtain will do, if nothing
else can be done.
1t IS hardly necessary to say that all
these arrangements for play depend on
the requirements of the play and its legi-
innate business, which may demand
table, bureau, piano or a bed. The
very funny piece, BOX and Cox" needs
nothing but bed table and fireplace.
And here we would say to the youthful
actor: Select your play at first with
view to its requiring little change of scene
and not much furniture. A young actor
needs space. He is embarrassed by too
many chairs and tables. Then choose a
play which has so much varied incident
that it will play itself
The first thing is to build the stage.
Any carpenter will lay few stout boards
on end pieces, which are simply squared
joints, and for very little money will take
away the boards and joists afterward, so
permanent stage can be built for few
dollars. Sometimes ingenious boys build
their own stage with few boxes, but this
is apt to be dangerous. Very few families
are without an old carpet, which will
serve for stage covering. and if this is
lacking green baize is very cheap. A
whole stage fitting, curtains and all, can
be made of green baize.
Footlights can be made of tin with bits
of candle put in. or row of old bottles of
equal height, with candles stuck in the
mouth, make most admirable aud cheap
set of Tootlights.
The curtain is always a trouble, especially
in parlor. A light wooden frame should
| be made by the carpenter, firm at the
joints, and as high as the room allows.
joined to the stage at the foot, this frame
forms three sides of square. And the
| curtain must be firmly nailed to the TOP
| piece. stiff wire should be run along
| the lower edge of the curtain, and a num-
| Der of rings be attached to the back of it.
| IN squares, three rows of four rings each
/ extending from top to bottom Three
cords are now fastened to the wire and
| passing through the rings are run over
| three pulleys on the upper piece of the
frame. 1t is well for ali young managers
| Of garnet theaters to get up one of these
curtains, even with the help of an uphol-
| sterer, as the other draw curtain never
| works SO securely, and often hurts the de-
nouementof the play. In case of the drop
curtain above described. one person holds
dill INC StAlHSs. duu III puts together.
| Now for the stage properties. They are
| easily made. A boy who can paint little
| will indicate scene with black paint on a
| white ground and tinsel paper, red fam
mel and old iinery will supply the fancy
| dresses.
A stage manager who is a natural born
| leader is indispensable. In the ambitious
| essay OF certain amateurs, the opera of
Patience" was well essayed In New York.
and but Tor the musical talents of the two
| great parts would have been failure. ex-
cept for the diligent SIX weeks training
which the play received at the hand of the
| principal actor in the real operetta; but
this seems very dear for the whistler, when
| one can go and hear the real tune. 1t is
| in places where the real play cannot be
heard that the amateur theatricals are of
| Importance.
Young men at college get up the best of
all amateur plays because they are realistic
and stop at nothing to make strong out
lines and deep shadows. They, too, buy
the makeup of the character give study
| and observation.
II they need a comic face they nave an
artist from the theater to come and put il
on with camel's hair pencil. An old
mans face or a brigand's is only bit of
water color. A pretty girl can be made
out of heavy young man by rouge. chalk
william few purple spots are painted on
the chin, cheek, forehead and nose ju-
diciously.
Young girls are apt in essaying private
theatricals TO sacrifice too much TO pretti-
ness. This is fatal mistake. One must
even sacrince native bloom if the part re-
quires it, and put on unneeded rouge, if
necessary.
As amusement is the object, the plays
had better be comnedy than tragedy; and
no such delicate wordy duels as the Scrap
of Paper" should be attempted, as that re-
quires the highest skill of two great actors.
After reading the part and committing
the lines to memory the young actors must
submit TO many and long rehearsals.
After much study and rehearsals they
must not be discouraged if they grow
worse instead of better. However, per-
severance conquers all things, and finally
they get to the dress rehearsals
This is generally a disanpoiutment and