The Roanoke times. [volume] (Roanoke, Va.) 1890-1895, 1895-05-29
HOW HE GETS HIS CUE
HE DOESN'T HEAR THEM, BUT "PICKS
THEM UP" PROMPTLY.

'''SHt ffhOmF III.
New York Actors Way OF Overcoming
Physical Defcct-Ho Studies the Faces
of tho Other Players and Counts So as
to Tell When to Speak,
Perhaps the most important detail for
an actor to master i'll stage technicalities
is the trick of picking up his cue quick
ly.
Every stage manager knows how i'm
portant it is that that should be done.
The slightest hesitancy in quick con-
versation between the lines spoken by
different people will surely spoil the
scene.
The regulation way for actors and &C
tresses to learn their parts is to also
learn the cue, us we'll rs their own lines.
Perhaps it 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 tho actor is to speak, but
also the cue. Most stagcfolk will tell
you that 1t Is moro difficult to learn the
cues than it 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 Familiarity called. No one
would suspect, to sec Mr.. Hollands rem
dition of the parts no plays, that ho docs
not hear tho 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
ly affected that way.
1t would seem to tho average thinker
that Mr. Holland would havo found his
lnfirmlty serious handicap in tho dra-
matte profession. On tho contrary, so
cleverly has he managed it that it has
been almost an advantage to him Triv-
lal noises do not disturb him, and in
consequence he is ablo to give his whole
mind, unaffected by any Interruptions, to
the work in hand.
OF course Mr.. Holland Is not absolute
ly "stonc deaf" as the saying goes. Ho
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
mlts these to memory perfectly. So we'll
does he learn them that he knows inst
how long it takes for them to be spoken
When he is facing the motor 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 littlo atten-
ton to the lips, because most people
have habit of moving tho lips involun-
tarlly even when they are not speaking,
trick that would easily lead him
astray. The expression of the face, how
ever, is sure cue. 1t never fails him
and always is tho same
His main reliance, however, is on a
system of counting. He knows just how
long it will take for each speech to be
said He times that speech by certain
number of counts. When he has counted
the right number of times for the speech.
he knows that it is his turn to speak
This is absolutely necessary when his
back is turned toward the other actor.
AS, for instance, Mr. Holland comes
OiA INV oe<hsSC, iiiS lliiC ~
well; I've returned.
He then turns around to lay down his
hat, and tho other person says:
But you were very late in getting
back -
As soon as MIR. Holland turns he be-
gins to count. When he has reached
eight, he says in n nonchalant way, no
matter what is happening:
We'll, aren't you glad to SEQ 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 aGroitness in this line
has been the wonder of New York man
ayers Probably no ono else knows of it,
for. as is natural, Mr.. Holland is trifie
sensitive on tho 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 blunder or some unforeseen
accident occurred. This would only hap
pen when some noise was to be made,
as the ringing of q bell or the firing of n
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 III an embarrassing stu
alton.
Suppose, for instance, that in the bust
ness of a piece bell is to be rung. 1t
1Sncr, r ,r-i,o,,
that's none OF Mr. Hollands business.
10 DOf ,r.,lI r- ~.