The sun. [volume] (New York [N.Y.]) 1833-1916, 1898-11-13
BRINGING OUT ANEW PLAY
now CoLoR COMBINATIONS NAVE no
he STUDIED.

The amounto of brain tissue exp rnded BY atha-
atrical manager upon the production Of a new
play would run an ordinary Literary Bureau
for n t~welvemonth. but the theatrical manager
IL an unappreciated genius. Members Of tho
profession know his merits and faults. and take
stock in his triumphs and defeats, but for The
general public he is avague. nebulous lumi.
nary, and altogether cbscured 10y the star 10
a play succeeds. the actors get credit for their
part OF the work. but the thousand and one de.
tails that go toward making success do not
impress the crowd before the footlights. The
manager must content himself with solid
financial rewards aud not banker after gloIy.
unless. as is sometimes the case. the man
ager aud the star are one. Thcn there is like
" to be more glory than ducats, but a few such
combinations have been successful.
Henry Irving has given superb productions
OF all his plays. but he has had opportunities
such as no other actor-manager has had, ltisn't
often that q manager can turn TO an Alma Tad
ema and ask.him to design costumes for a play.
as Irving did in the case Of his "Cymbeline.'
Irving's social position and friendships among
the greatest artists Of England make IL possible
for him TO obtain aid that Is priceless and ut
terry beyond the SCOPE OF the manager whose
only argument is money. No manager could
pay what the art put into such a play as IT.
wings "Cymbeline' is worth. and ~Irving's
managerial triumphs are as much a matter
Of opportunity as Of acuteness. though his dra-
matte triumphs are all his own.
do you suppose / couldn't put a play on
better than 1 do II l could call in whatever
talent / pleased to do the work?' said a New
YORK manager yesterday. THE public hasn't
the smallest idea of the expense involved in
putting a new play on, even fairly well. We
must do the best we can with the amount Of
money We can afford to spend, and the num-
lA, 80 DsAblar.. .. ~ a...sla.al ~ A-a,,.l -
drive a man insane. or course. the play is the
first thing. When that is accepted the leading
role must be given wise y. Then the scenic
artist must be set, to work.. and the manager
the problem Of dressing the play comes up, aud
makes water color designs and submits thea.
The manager must be sure the designs are
absolutely, accurate 10 restect to epoch. aud
are effective from the front. Each costume
must be considered individually and in rea-
ton to the other costumes. and in relation TO
the scenic colorinR and uiIholste ~ background
a HndI in relation 2 It to the ! shar9 etc, Of the h gersSo 81
ure and complexion must have proper consid-
Grafton eP bap loans and st ths other y costumes lsmsm must nus .E %or1; up
Well. when the leading lady throws herself in
front of the curtains to bar her lovers exit,
background imaginable for her face aud figure
and gown. II the lines OF her figure are line.
tuate her outline. If not, let her gown melt
into the, drapery. but throw ont her face IN
DOlu ltilel. OH. ~ > All u matter OI cuTelul
study. and no detail must be overlooked.
The star and the manager and the artist
Each one helps, but the manager must deciIe.
! remember when, Bernhardt was going to pro-
duee a new play here, she had her artist and
New York stores scattered around her. The
gas was lighted. and there they worked. day
binations and effects in different materials. Men
streamed in and out, bringing goods from tho
sign was completed SAMPLES of all the mate.
rails to be used were pinned on the water color
S per; but fSe her nssista hts Z to fTesin ms ibe i was 'e fTe-
mendously nice about everything. ] remem-
said that though the results obtained were en-
tirely satisfactory the expense was %ruinous.
Il does cost a great deal more to put u play on
the American productions nre better staged.
All materials are more expensive here and it
stantially in America. Even the lumber In the
scenery is OF better quality and American
properties stand wear and tear better than the
"lor example. take Fanny Dayenp9rt's plays
brought almost all Of her properties over from
France. Fanny Davenport said she must hays
customs duties. Bernnardt got splendid efiecss
with tawdry materials. Davenport spent much
more. but for her purposes everything had to
he Of course brought ali of his Scenery. &c.
That scenery was cHpugh to make al ordinary
like q lot Of old rubbish covered with spiashes
and daubs OF paint. You never in YOUR fife saw
care of as though It had been Victoria's
crown Jewels. and, by Jore. when IT was M and
It was simply wonderful, That's what cores
pf being able TO engage such talent as is with
l TSs rIe isil , ! don't belis EYE there's me
envy when he saw the sort OF thing Irving ac-
"Booth, tried to carry out his ideals as Irving
Toes, and 1t broke him. l suppose you don't
rememPer when Booth had his own theatre.
he staged plays as well as any. OF Shakesneaie's
we're ever staged, but it couldn't last, He had
We've a man over here to-day WHO has Ideals
and ,riest 70 put his plays on according TO those
deals-nansfeld mean-but he hasn't back
ng or oppor1tunity and doesn't get the credit
u any Of our artists who are famous in
ne reporter. The manager shook his head.
No. cant say 1 run across many Alma
the drama. Occasionally a clever young IL
ustrat2r does some special work for us. but
,H!ep!oyed by regular theatrical, costnmers.
They consult old ,engrayinRs and editions de
N nSe t6 Q, 1 SIox 6 dealing 1Ee with 1d The period treated
,ehemes themselves, Ths collection Of rare
Illustrated books owned by managers and the
II the designs are kept by the costumors. too.
are Of use in other plays. 4 costumer
Bernhardt produced, for the first time,
lere, and I'm going to use some Of them IL
Pas tiiS, HehSOH. III u play mas Oeen
abroad before coming here. ofTcourss
ve nave DESIGNS OF the original scenery. eos
umes. DC. and we reproduce them, unless We
zee a chance to improve upon them"
'w, Rowns?"
Never in what We call costume plays, 1t
Used 70 be customary, though, for actresses
q flnd their own dresses for modern PLAYS.
they go out OF fashion 50 soon. you know. and
;re OF no use as properties. However, nova
lays. even the dresses, for modern PLAYS are
'lten furnished by the management. OF
OuTSe, III all depends uDDn the contract m6Ie
WIN the actress; and. even II she finds The
owns: fhey must be made according. 10, de-
lgns selected by the management believe
I Is much safer and more satisfactory to have
ne whole thing In the hands OF one costumer,
men all the actress has to do Is to stand IN
,elore a. pier glnss and he ftted. One cos
umers, firm IN London has had a small thea
70 built IN the establishment, footlightS and
Al complete. and mirrors everywhere. SO that
me may get the exact effect Of the gown on the
tage. A gown that is very. stunning on close
he footliRhts.
An outsider can't realize the Importance Of
ueeceSsful go gns in n play, An limiting gown
~ demoraiize an astress worse than anT-