New-York tribune., 1920-02-29

did only the very primitive part y. ~
work got all the credit and the stna,as ias
were never heard Of. But It meant ~
income to them and they were ss.;. ~
fed. / have consistently refused =.
work with any except my own desio,s
and | have had hard battle IN 80 as'
vince managers that a man WITH
established reputation in the old scbsa,
can change the order of things and sn !"
the new" "A' 10
How many theatergoers wha law,
at the situations and admirs ~
acting give even moments con ,,'
sideration TO the thought, tina t;m.
and the expense of the stage dsco~. r,'
tions which often help make or 10
production? It is doubtful IL tha
ratio IS more than one in ten.
Briefly Mr.. Ackerman. who s.. J.
signed and built the scenery for 80 uv.
Winter Garden productions. for aTTiss aTsss
Magic Melody" and The pass,ns
Flower" now current on Broadway: :',oa soa
lie. Cog dor" at the Metronol;.sss W.
and many other plays, described -.
steps leading from the manuserin+ ~
the completion of the scenery and -.
erection on the stage. 40
lhe manuscript is turned over to II.
scenic artist, and frequently the n,sp rs
wright confers with him and snvpa...
what he desires to bring out in 81
various scenes. After reading ths
manuscript and noting the locale -.
setting, the artist designs the scenss
IN colored studies. These are snh'
mltted to the manager and at a con.
ference at which the author. the stae.
director and the artist are presses,
tney are discussed and either accepted
or rejected. Np''0
Sometimes it is necessary to max. .
great many studies before one ia ~
cepted. 1t is just like writing s. nisr M
or a story. You might hit it at s tbs
hrst attempt or you might have to "a.
write and rewrite until you are sue
cessful,' Mr.. Ackerman said
Models, drawn to scale and plannaS
as carefully as houses, are made from
the sketches and are also submitted
When they are passed, working draw'
lngs for the builders are made and
they are charged with determining tbs
mechanical details OF the WORK. Far
example, every piece of scenery mp,t
pc no more than five feet ten inches
IN width in order to make railway
transportation of the sets possible, Tbs
scenes are usually all fitted up before
the painters start on them, and when
completed are set up in the theater hv
the mechanic who built them from ths
plans, usually not until the day of tha
dress rehearsal.
Lighting is very important ele-
ment," Mr.. Ackerman said, "and stinu-
late IN every contract that I mako
mat 1t must be under my supervision
l know the play. and working with the
stage director it is possible to bring
out the desired effects Stage-lightine.
hnd, is largely a matter OF patience
and experiment. In costume plays. il
IS necessary to have the actors on the
stage during the experiments to see
the effect Of the lights on their cos.
tunes"
Inc average time necessary to design
and build the scenery for play is
from SIX to eight weeks, but seldom
is enough time given.
IT is necessary then to think quickly
ana nave a great source of knowledge
at the tips of ones fingers" Mr.. Acker-
man continued.
10 prepare for his work. Mr.. Acker.
man studied at the Art Students
League, at Cooper Union. and Beaux
Arts IN Parls. He has also Travelled and
read extensively. Ed Unit and he were
'ioeo AoI lne late CHARLES Fr0h-
man, and this, he says, was the best
JOB he ever held.
Through the lofty -ceilinged studio
ne led the way. Huge canvases many
coiored. were stretched out on frames.
waiting for the artists brush. Yet no
sScafolds or ladders were visible. Simply
by pulling a rope. which adjusts a sys-
tenn OF weights, it is possible for one
man to place the gigantic easel In any
position he desires.
Scenery" he concluded. must bss
background. When it gets beyond
. then it is stage scenery
~ should never intrude so much that
ene audience overlooks the play, the
costumes OR the people on the stage
still has To;.L .