The age-herald., 1901-12-22

- 0 OW stage mobs" are created Io and controlled is one of the U most interesting of the many OS subjects concerning that mys- terious realm behind the footlights that all humanity likes to explore. In the counterfeiting of lifes great drama there frequently arises the necessity of pro- ducing certain scenes and incidents where great throngs of people are supposed to congregate and to faithfully picture his- torical occasions which have become of national or worldwide interest by an ex- act reproduction in stage miniature of the exciting times when tempestuous multitudes of people threatened and swayed kingdoms or arose in the power of ungoverned fury to perpetrate some unlawful deed.
 In creating and planning realistic stage pictures which characterize the ambiti- ous theatrical productions of the pres ent day much time. money and Judgment Is expended. The splendid naturalism of the terror inspired by the mob in Sir Henry Irving's production of Robes pierre" which stands as one of the most notable examples of modern stage group ing was the result of many months of patient and tireless labor. It had as much to do with the success of the play as the acting of Sir Henry Irving him. self.
 It produced "atmosphere"-that inde- finable quality the presence of which is the golden charm of theatrical success, and It's absence many times their fail ure. It took the audience in mind and imagination right into the streets of Paris to the terrible scenes that made that occasion one of historical terror. The madness, the gesticulation, the screaming. the action, the life of the mob" seemed the very thing itself, in- stead of the stage counterfeit The making Of 1t all required a skill and study, knowlege and experience equal to the best acting And yet 1t was only the background. It brought Irving s masterful work into bold relief and thrilled every spectator of the thous- ands who witnessed 1t.
 Though this is one of the most impor- tant departments of twentieth century stage mechanism, there is less known. of or understood by the public concerning the training and selection of stage mobs than of any division in the elaborate curriculum of. the stage. The greatest interest in the stage and all that con- cerns it-even to the people who con- stitute its moving life--lies in the mys- tery which surrounds 1t, and in the gulf of uncertainty which flows between the world and the unknown beyond of the stage It has been held time and again, and with absolute truth, that when the mystery" of the stage disappeared the mimic world itself would fade away. Therefore the very life of that world depends upon the sway 1t exerts over the imagination.
 But this very mystery creates the strongest desire to explore the unknown world, and that Is the reason why a peep into the realms is always fascinating. And peep is rewarded with just enough knowledge to render the exploration making of stage mobs is one Of the most interesting of stage subjects.
 In the first place everything has a be- ginning. About everything that the mill lions of theatregoers in American see has It's inception in New York City. This, of course, excludes those produc- tions which are transported bodily from England or France. New York is the producing center of the new world, as far as the stage is concerned. and pretty nearly everything that is born to the stage of America has its conception there. This makes the 'mob producer a part of the theatrical life in New York, and he has made it a study-al- most science.
 The most important figure of this kind in America is Henry White. MT. White has pretty nearly every detail of stage management at his fingers ends, but no department under as perfect a knowl- nda kha% 0H .lt.< of-t.. Consequently, whenever the producing manager in New York desires a regiment of trained extras" as the mobs are known in the technical language of the stage world, he has recourse to MT. White.
 MT. White has judiciousiy estimated that he trains on an average of over H.000 people each year in the most ap- proved fashion of ''mobbing" This is In itself small army and means a noun tain of work, skill and patience. His work has grown from pursuit of ex- tremely small proportions to be one of the recognized departments of a stage production. Mir. White is the avenue through which thousands of extras find their way to public view, and he has de- veloped with his business.
 The different processes through which the extra passes before he or she be- comes sufficiently moulded to the re- quirements and desires of the mob maker are interesting. For instance there is a great production planned for some great play. In one or more scenes the dramatic action and perhaps the climax is heightened by a mob scene The stage must be filled with people, apparently every one of them a part and parcel of the company. They must shout when it is necessary, sway when 1t Is demanded of them, and act for all the world as if they wanted the villan's blood or the heros life.
 To carry the number of people neces- sary to the success of these ideas and groupings on the entire tour of the com pany. to pay their railroad fares or even the salaries necessary to sustain the actor or actress who would demand only the most modest compensation for such work is business impossibiiity. There fore, the mob producer takes advantage of the situation and proceeds according to his lights.
 In large city-particularly in New York, the mecca for all men and women who seek employment upon the stage are hundreds of people who are willing to go stageward in the most unpreten- tious way. Perhaps they have tried the managerial door of every theatrical pro- ducer in New York, and have been dis couraged by the almost invariable an- swer: We have all the people we can possibly use" The only door open to them Is the one to which the mob maker holds the key. The pay is small-aimost nothing-but they are willing. and it means a beginning.
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