New-York tribune., 1917-12-23
Adventures, Scenic
And Sartoria |

Pandemonium and bewilderment fol
low each descent of the curtain at the
Booth Theatre, home of John Hunter
Booths "The Masquerader." The Wis
itor minds her step, be she whom she
may or merely from a newspaper, and
moves speedily when spoken to toward
the place designated. Else there's a
very good chance of being carried up
in the flies with the scenery or rushed
into a corner on a moving object and
deposited in dust that has not stirred
since it was moved TO do so three years
ago by Nine. Petrova's performance of
Panthea, the girl who wanted to live
her own life.
But one doesn't know all this when
first stepping behind the scenes at the
Booth, and it was only subsequent to
disregarding the stage managers cry
to run to him that we realized that this
was no ordinary stage. Really, it was
quite upsetting in more than one man
ner of speaking to find ones self being
carried somewhere one doesn't wish to
co on a movable floor. Especially
when, upon looking to the right, we
discovered, rushing through space at
our side, Guy Bates Post, making a
complete change of costume! Playing
dual role, you understand, Mr.. Post
cannot ch ose his boudoir, but must
take 'em OF and put on others wherever
re is left standing at the curtains de-
scent.
OF course, there was only one thing
for a lady to do-and we did it with
the speed of reflex action. We bounded
forth into the black unknown and added
to the general chagrin by unwittingly
charging stage hand. He was a very
nice stage hand and, although taken by
surprise, guarded his involuntary OBJ
servstions behind his hand. Later we
learned this assault caused him TO lose
ten seconds on his nightly record for
getting a rug placed at a certain angle.
"The Masquerade" has three acts
and eight scenes. Between the scenes
Stage Manager Milano Tilden allows an
average of forty seconds for each
change. Forty men are concerned di-
rectly in rushing off the stage one
"set" and its impedimenta and rushing
on another. Each man does the thing
that is his task and concentrates on
that and no other. And each night Mr.
Tilden stands. watch in hand, speeding
up the crew and trying for new rec
ords.
Mr. Tilden learned the business OF
stage managing during four years with
the difficult Mansfield and seven more
with Sothern and Marlowe. Still, no
play for which he has directed the
stage ever presented such problems as
"The Mssquersder.' "On Trial" was
equipped with a revolving stage that
only needed to be turned about. "The
Masquerader" sets must be taken from
the vicinity Of the footlights and re-
placed by others.
Wandering aft Of the back drop. We
came upon Louis Calvert, his studious
nose buried in book. Mr.. Calvert is
that very excellent actor for whom Ber-
nard Shaw wrote the role Of Andrew
Undershaft in "Major Barbara" from
the playing of which role so volumi-
nous q correspondence resulted be-
tween player and playwright, The
book was "The Art Of Acting" and why
Mr.. Calvert was perusing it we could
not imagine.
We were about to inquire, when the
floor beneath us began TO move.
An spprehensive glance about failed
to reveal Mr.. Post or any other mem
ber of the cast engaged in sartorial
activities. Not knowing where TO lean
we held our ground as best We nigh,
and presently were shunted into a cor
ner behind 3 garden wall with gate