The Birmingham age-herald., 1920-03-12
MEN, WOMEN
 AND THINGS

This is to be a Postscript to The Masquerader, for, having seen it from the front of the house on Monday night. witnessed it from behind the scenes on Wednesday evening.
 
 I must lave a lot of the boy left in me for. after seeing the smooth-working ma chinery by which the audience got such marvellous scenic effects. I had a great Tor ging to be initiated into the mysteries going on on the other side of the cur tain.
 Any man with a boys heart knows that when he gets his first watch he is not satisfied until he has pried open the back case and had a peep into it's in- sides, and unless he is a model one.- he'll for it's a part of boy nature to want to see the wheels.
 Now, it's no new thing for me to go be- hind the curtain, for I had the chance as lad to see the scene shifters at work and the actors hurrying and scurrying to make their changes and then. as four minute speaker, I had the opportunity to refresh myself in regard to the hurly- bLrly of giving a vaudeville perform ance, with the change of every scene, or of a theatrical play where the action was slower.
 So it's not to be wondered at that when took my seat at The Masquerader" on Monday night and saw the really at mospheric opening. for it seemed to me as if the fog had penetrated the whole house and that I could taste it, I wanted to know just how the effect was produced, as it was one of the best illusions ever produced on the modern stage with all of it's miracles.
 Then my wonder grew, as the library in Chilcotes home, Grosvenor Square, and Loders lodgings in Cliffords Inn, seemed as interchangeable as the characters of the two men. Now, I have seen some wonderfully swift changes in make-ups' Some may recall the actor who imper- sonated a number of Dickens immortal personages here few years back, in which he really achieved distinct success. He .vited me behind the scenes to watch his method although he did not let any Of the stage hands see him work.
 Naturally, the lightning-like transfor- .. nations of Guy Bates Post whetted my curiosity, but they in themselves were not so remarkable as the rapidity with which the scenes themselves were switched. It's a much simpler thing to change ones clothes and alter ones makeup than it is to devise means by which whole apartments are made to ap- pear and disappear as if by magic. I went down to the Jefferson and said to my good friend Brown Parks: Look here, Brown, I want to get an inside view of The Masquerader.' and itss up to you to arrange it for4me." All right. Doc,'' he replied. 'I am sure it can be fixed without any trouble" l knew then l that my chance had come. But" he | said, Tets go back now, before the play begins, and see the set-up of the two | famous scenes. - It was just what I wanted to do, and | so back we went, in total darkness. II was at a time when the stage manager and his helpers were at supper, but wt | found a houseman who switched on g ! light for us, and so had good oppor- tunity to see withs what manifold care Chilcote's library and Loder's lodgings had been arranged. I thought I knew a little bit about the minute attention given l by some great producers to stage properties, but I never dreamed that was to witness such attention to details as I was carefully examining.
 
 You saw from your seat library, but have discovered that the paneling and doors were made of solid wood, that the | coal in the grate was out of mine l that every piece of furniture was fit to be installed in anyone's home. Portraits, l books, pictures, vases, clocks-all were
 rare old specimens, and in keeping with what member of Parliament might be expected to have in his work place. noticed on the library table two packages of letters, one addressed to Judge Chilcote | and the other to John Loder. There was even a typewriter synopsis of England s plan of organization with regard to muni- l tions and protection, and copy of the
 Illustrated London News.
 l ho to Ia lodgings, and here everything was in true | character. The prints were such as one
 room of penny-a-liner journalist in Lon. don who had not yet got firm footing on any paper The piano. was different 1 from the one in the library The lounge
 and the shoe-shining outfit, apd many
 other articles gave evidence that it was
 but workshop and place in which John Loder lived.
 1 My friend Williams the stage manager | told me the best places in which to stand 1 At times I was within a few feet of Post. at others in the wings or lookine
 through the library window. I was in the !, midst of the fog scene, and 1t was more realistic from the back side than iron out front. I had a curious feeling al times when standing where I could not see the act, yet hearing the familiar
 words. I can truthfully say that I got 1 r ore pleasure in watching the play, as i developed behind the footlights than