The St. Louis Republic. [volume] (St. Louis, Mo.) 1888-1919, 1904-02-14
Grace George, William 4. Brady
and Frances Aymar Mathews
discuss a point in Miss Math-
ewss play "Pretty Peggy"

II you cave ever been a member Of ar
amateur theatrical company doubtless yor
recall the sport Of rehearsing a new play
to be produced.
A Jolly gathering at the home of some
friend. a large amount Of chatting and a
light lunch probably constituted the occu-
patton OF the afternoon. and you came
away amazed that professional actors
should really draw a salary for that sort
of thing.
You will be surprised to hear that nc
task in the world really is much harder
than the task Of preparing for a pro-
fessional performance, and that both stage
directors and directed dread rehearsals
above any other feature of their work.
The labor of putting on such a piece as
Pretty Peggy" in which Grace George
is to be seen here. is one requiring at least
two weeks Of constant attention.
The larger the umb of persons en-
ployed and the greater the amount Of busi-
ness TO be taught the longer the tim
given to preliminary performances. Thus,
1t is more difficult to stage a comic opera
than a romantic drama, and more difficult
TO stage a romantic drama than a farce
comedy
A capable director. such as Max Free
man or Frank Hatch, gets as much as
500 a week for hts services, but the actors
are not paid anything until after the first
public rendering Of plays. In cases In
which the manager of a production is a
man of practical experience he often d.
reefs rehearsals himself.
william A. Brady has an assistant for
those portions of the work which are oil
comparatively small Importance. but takes
personal charge Of the big scenes.
His speciality is the handling of crowds
Of people and he was responsible for the
- w. nontp- In HE rPrpltt
production of 1.-The Pit" and for the
famous riot in Pretty Peggy."
At the beginning Of a theatrical season
there frequently are as many as 2J COM
panies rehearsins in New York.
The more fortunate of these work on
the stages of unused theaters. but many
are consigned to halls and bathrooms for
which an enormous rental is charged r
this time Of the year.
Since productions are being made con-
stantly. rehearsais go on constantly. but
the majority of the annual crop of plays
AUGUST and October.
Aver a play has been accepted by a
manager the parts are copied, SO that each
uscript. In the old days the company was
first convened to hear the play read, US
ually by the author, but this practice
has become generally obsolete and nova.
nyo khO iNs hc ~ oiS vi
the favored few, who Is permitted to take
the piece home over night, gets his idea
Of what 1t Is all about at a rehearsal.
The first of these means little work:
scarcely more than the handing out of
parts and an informal introduction of the
member of the organization to one an
other Tomorrow at TO-" say the stage
manager. and the players know that the
serious work Is about to begin.
Tomorrow at TO-" they arrive. fresh
looking and in good spirits. testing as
they receive their mali from the stage
doorkeeper. Inside the thsater their spir-
Its are dampened- The only light in the
house Is afforded by a single cluster of
electric bulbs. under which is placed the
table bearing the manuscript and a chair
for the director.
The auditorium looks like a huge black
cave. from which the white-cloaked seats
rear themselves like ghosts OF the pleas
nre-seekers who occupied them a few
hours ago. 1t is unbearably hot.
A force OF carpenters, bllssfully indif-
ferent to what Is going on about them,
hammer and saw with distractinG noise.
The performers wait about for the stage
manager to finish q. long argument with
the author or the manager. There is no
place to sit, and they are as tired as the