The Providence news. (Providence [R.I.]) 1891-1906, 1898-11-28
THEATRE ACOUSTICS.
They Have an Important Bearing on
Success or Failure.
Effect on Ears Quite as Essential as Effect
on Eyes, Bert C60te Says.

You nave no idea what an lmpor-
tant part the acoustics Of a theatre
play in the success or failure OF q per-
former" said Bert Coote, the well
known comedian, who was at Keith's
last week. II do not mean that their
influence upon the results attained Is tor
be measured by any fixed standard, but
In varying degrees and In different
ways IL is an element in an actors en-
deavcrs to meet the approval OF the au-
dience that cannot be ignored"
incidentally IL will be noted that Mr..
Coote referred TO performers" and "ac-
tors" and not to artists. The latter
seldom use that word. They do not
need to- Inferior actors always refer
TO themselves as artists"
THE effect on the ears OF an audi
ence," continued the popular comedian,
must be considered quite as much as
that upon their eyes; and no actor who
does not understand this can hope TO
meet with his full measure Of success.
Strive as you will, work so hard that
you are completely exhausted when you
go off, If YOU have not been able 10 use
your voice 10 it's best possible adVan-
tage, your success. If any, is but par
tal. You may make people laugh, you
may get n big hand, and yet, If the
acoustic properties Of the theatre are
poor. If your voice has not penetrated
every ear with all the delicate grada-
tions of its varying infections, you have
fallen short of what under more favor
able acoustic conditions you might have
accomplished
II have played in elegant theatres,
filled with large and appreciative au-
diences, where the acoustic properties
were so bad that / could seem TO feel
my voice rebound against my chest
with every sound ! uttered. They
laughed and they applauded, and yet
faI that efforts "A largo
tent lost, and you cannot imagine the
disheartening effect of that feeling and
how difficult il was to brace myself
against IL and 10 maintain the full ten
sion of my exertions.
"Kcith's Providence theatre is a Won
der as regards it's acoustic properties
quite as much as in every other re-
spect, and i'm that regard one of
the very few model theatres in this
country. In fact l do not recall its
equal as 10 acoustics in any city in the
country. III Is a pleasure for a perform
er TO come 10 a house where he finds
such fine, large, clean and well-ap-
pointed dressing rooms. That puts him
in good humor at the very start Next
he notes the extreme quietness on the
stage. in the wings and stage lobbies,
and he feels still better and realizes the
truth of what has been said. that no
manager in the country pays so much
regard to the comfort and convenience
of performers, as well as of his patrons,
as does Mr.. Keith. Then when he goes
on for his act, the first sound of his
own voice assures him that he is heard
without an effort in the most remote
parts Of the house. that the auditors in
the back rows and those away up in
the farthest corner of the second bal
cony are his TO be captured at Will If
he has the ability. He is encouraged
and filed with confidence at the very
start as he realizes that the slightest
effort to give effect TO his lines by even
the most delicate shade OF infection is
sure to play with success it's important
part i'm the general result He feels
that his voice carries" that il fills the
theatre completely without the slight
est effort on his part, and that If he
wishes to whisper even that viii not
be lost. He realizes that If he does not
receive satisfying evidences of pleas
ure and enjoyment and appreciation.
the fault lies within himself alone, and
he is inspired to do his prettiest and
work his hardest, knowing that all his
natural gifts and all his professional
requirements are here given every pos
sible advantage and are exercised and
displayed under the most favorable
possible conditions. Would that /
might always play in Keith's new the
atre."
The very inferior acoustic properties
of which Keith's new theatre has been
constructed are too well known by
theatre-goers. for whom the enjoyment
of a play was often thus marred. not
TO make these remarks of Mr.. Coote OF
considerable interest. and they VIII be
appreciated by the thousands who have
enjoyed the pleasure in the new thea
ire Of hearing distinctly every word
that is uttered on the stage. even when
seated in the parts of the orchestra or
balconies farthest removed from the
stage. This fact has occasioned much
comment and has called forth many
compliments for General Manager AL
bee, under whose personal direction the
plans of the house were drawn, as well
as for Mr. George Leach. the architect,
and Mcguire a. Penniman, the builders.
The fun extent of their success i'm
this particular is probably not fully ap-
preciated by many; and there is proba-
bly, not another 80 catre i'm this country
I'm which such remarkable acoustic re-
suits as have been noted i'm this house
can he found.
Several times the attaches in the sec
ond balcony have been Obliged To tele-
phone TO the stage. to caution those
there not to speak so loud behind the
scenes. as every word could be heard
distinctly at the back OF the. second
balcony and so interfered with the
pleasure of the auditors there; and
those who received the message were
amazed at the statement because the
rule Of the theatre prohibiting loud
talking i'm the wings was strictly en-
forced and they could with difficulty
believe the reports from the second
balcony.
Very frcqucatIy. the conversation of
the occupants of the lower boxes has
been hoard IN the second balcony when
Il was not audible on the orchestra
floor. and many other similar facts
might he cited Illustrative OF the oX-
ccptional acoustic properties OF the
house, which probably are not parallel
ed i'm any other theatre and tend to
warrant the recent statement Of Mr.
Felix Morris. that "Mr. Keith's Provi-
dence house is absolutely perfect in
every RESPECT"