Evening capital. (Annapolis, Md.) 1884-1910, 1895-06-26
low IIEGETS HIS CUE
fsE DOESN'T NEAR TFsEm. euT aPIcNs
T1Em up PROMPTLY

fUk ~ ~ F~FtAIft3f -
A Nee Vera Actor's Way Of Overcoming
P7y~E-Aa Desecs-He Studies the PAGES
90 tse oshes Players and Counts SO =.
80 Ten whe~ 70 Speak. .
Perhaps the most important detail for
AZ actor 20 master in stage technicahties
is the trick Of picking mp his cue quick
ly.
Every stage manager knows how i'm
portant il is that that should be done
The slightest hesitancy in a quick con-
versation between the lines spoken by
different people will surely spoil the
scene
The regulation way for actors and ac-
tresses TO learn their parts is to also
| learn the cue, rs well as their own lines
Perhaps il is we'll TO tell the uninitiated
| that the cue consists of the last few
words or the last sentence spoken by the
other actor. Every part not only con-
tains what the actor is 20 speak. but
also the cue. Most stagefolk will tell
you that it is more difficult to learn the
cues than 1t is the lines, as they often
convey no meaning TO the mind.
Everybody in New York who goes TO
the theaters knows or has seen Joe Hol-
land, as he is familiarly called. No one
would suspect, to see Mr.. Hollands rem
dition of the parts he plays, that he docs
not hear the cues.
However, that is fact Mr.. Holland
inherited deafness His father was deaf,
and his brother. Mr.. George Holland,
the Philadelphia manager, is also slight
" affected that way.
1t would seem TO the average thinker
that Mr.. Holland would have found his
infirmity a serious handicap in the dra-
matte profession. On the contrary, so
cleverly has he managed il that il has
been almost an advantage TO him. Triy-
ial noises do not disturb him, and in
consequence he is able to give his whole
mind. unaffected by any interruptions, 10
the work in hand.
OF course Mr.. Holland is not absolute
| " "stone deaf, as the saying goes He
is what is generally termed "hard of
hearing"
Now as to how he picks up his cues
when he doesn't hear them.
He studies not only his own part, but
also the entire lines spoken by other peo-
| pie when he is ON the stage. He COM
mits these to memory perfectly. Sowell
| does he learn them that he knows just
how long it takes for them to be spoken.
When he is facing the actor Of whom he
is to get his cue, of course he can readily
tell when his turn comes by the move
ment Of the others lips or the express
sion of the face. He says, though, that
the expression Of the face is what he re-
lies on most. He pays very little atten-
| tion to the lips, because most people
have habit of moving the lips involun-
4 tarily even when they are not speaking,
trick that would easily lead him
astray Tho expression of the face, how
ever, is a sure cue. 1t never fails him
and always is the same
His main reliance. however. is on q
system of counting. He knows just how
long it will take for each speech to be
said He times that speech by a certain
number Of counts When he has counted
the right number Of times for the speech,
he knows that il is his turn TO speak
/ This is absolutely necessary when his
back is turned toward the other actor.
AS, for instance, Mr.. Holland comes
ON the stage, his line is:
well; I've returned.
He then turns around to lay down his
hat. and the other person says:
but You were very late in getting
back"
As soon as Mr.. Holland turns he be-
gins to count When he has reached
| eight, he says in a nonchalant way, no
matter what is happening:
well, aren't you glad to see me
back?"
Long experience has shown him that
in this way he picks up his cue just as
promptly and perhaps moro so than
| though he had heard it.
! Mr.. Hollands adroitness in this line
| has been the wonder of New York man.
ayers. Probably no one else knows of it,
for, as is natural, Mr.. Holland is a trifie
sensitive on the subject
The only drawback that he ever finds
| to his system arises from other faults
than his own. He has never yet been
caught mapping except when some stage
hand MADE Diunuer OF SOME uniOiscch
accident occurred. This would only hap
pen when some noise was to be made,
as the ringing Of bell or the firing of u
gun In such cases Mr.. Holland sup
poses, of course, that the property man
or the stage hand is doing his duty. If,
however, the property man or the stage
hand does not do his duty promptly, Mr..
Holland is left in an embarrassing situ
alton.
Suppose, for instance, that in the bust
ness of q piece bell is to be rung. II
doesn't ring when it should However,
that's none of Mr.. Hollands business
He. naturally supposes that it has rung
and so he calmly says:
"Ah, there goes the bell Go to the
| door, Maryi'' And just after he has said
it the bell rings.
Or If some one is to fire q pistol and
Mr. Holland is supposed to be listening
for the report with rapt attention, and
| when it should go off says, AT last he
has fired, eud no one has fred as far as
the audience can discover-well, in such