signals for off-stage noises, bells, sudden lights, etc. Often he is assisted by a member of the company entitled the call boy, who gives the actor warning that his entrance is approaching, reports to the prompter that the actor is in his proper place, and aids the play to go without a hitch. The prompter usually gives the signals for the curtain, too, and sees that the stage is clear, or that the proper actors are on, before the curtain rises. The costumer, is, of course, in charge of the costumes. In olden days he, or she, often had charge, under the director, of the purchasing of them. Now, when most professional performances are costumed after designs by a special artist, the costumer (often called the mistress of the wardrobe) receives the costumes, sees that they are properly distributed, and aids in their care and repair. The property man has charge of the properties, which are all the articles used in the performance not part of the furniture of the settings, and not distinctly part of the costumes. Such articles might be walking sticks, pistols, fans, lights, or in fact almost anything. The property man usually has a station somewhere on the stage where he can have a closet or a box. He has to be at the proper entrance to give the actor whatever property he needs as he goes on-and he has to secure the property again afterwards if it is to be used again. Business A third division is that of business management, at the head of which is the business manager. His assistants are usually a treasurer (or box-office man) who sells the tickets and handles the money, an advertising manager or press representative who controls and produces publicity, and a house manager who assumes the responsibility for the audience after they are in the theater. He hires and trains the ushers, looks after the distribution of programs, sees that the ventilation and heating are proper, and handles the audience in emergencies. Combinations of Offices In an amateur performance some of these offices may be combined with others. The business manager may assume the duties of the treasurer and the house manager. One person may be stage manager, carpenter, electrician, and property man. Indeed, some teacher-directors often assume all of these offices themselves which is very unwise! But even though combinations of offices are properly made, the thing to be remembered is that all these functions have to be performed and should be provided for. Necessity of the Threefold Division In general, too, there should be a pretty distinct division between the three departments. The stage manager sometimes plays a minor part on the professional stage, but this is usually to save the salary of one actor. If it is necessary to use actors in the business department, or as members of the producing staff, their dual position ought to be distinctly recognized. And this threefold division of a performance exists no matter how large or how small the production. Even in a kindergarten class room, a child might well be appointed to act as business manager in the case of any sort of performance. His duty is to see that the audience is comfortably seated, and to act as host. The stage manager might move whatever articles are necessary, and see that a space is cleared for the performance, even though he has no other duties to perform. Children delight in an organization that is professional. C. POSSIBLE FUNCTIONS OF A PERMANENT ORGANIZATION A live Little Theater or dramatic club will probably not be content merely with the giving of performances. It has other possible functions in the community or the school. Members may meet for the study of phases of play production. They may bring lecturers, or even professional dramatic troupes, before their public. They may attend dramatic performances of professional or other nonprofessional groups. They may build up a dramatic library, and strive in general to raise the level of dramatic knowledge and appreciation. They may hold meetings for the study of plays. The fostering of original dramatic composition is another function that may be performed by a dramatic organization. Contests may be held, the awards being performances of the winning plays. Sometimes a local group of playwrights may take the same theme or the same subject in a play contest. Each member of a play-writing group of The Drama League Players, of Washington, D. C., was to develop the Enoch Arden situation in some new and original form. The winning play, "The Brink of Silence," by Miss Esther E. Galbraith, has had many successful performances, not only by The Drama League Players of Washington, but by many other Little Theater groups. Young playwrights, in high schools, who find difficulty in finding original material, might well be encouraged by contests to produce good dramatizations of stories and poems. The treatment of historical characters and historical situations is another profitable source of drama. Play production tournaments may be another interesting and valuable activity. The annual Little Theater tournament of the New York Drama League has been a most successful venture; and other groups throughout the country, such as the Playmakers of the University of North Carolina, conduct successful tournaments for the amateur groups in their states. There is no lack of possible activities for the ambitious group. CHAPTER III CHOOSING A PLAY Some General Considerations The choice of plays is most important to the success of any amateur producing group. Probably the most common and satisfactory way of solving the problem is to have a small play-reading committee constantly on the lookout for suitable plays. The final decision as to the play or plays to be produced may well be left to the vote in a general meeting of the organization. Directors, especially teacher-directors, make a mistake in attempting to force the group to do a play for which there is no general sentiment. It is usually a simple matter to convince a group, by a properly planned campaign, that a certain play is desirable; but if they cannot be persuaded, it is much better to produce something else. The whole-hearted desire of the members to do a play is the director's greatest aid. The best safeguard in choosing plays, in either Little Theaters or dramatic clubs, is to have a carefully planned program which makes a hurried choice unnecessary. It is better to be on the lookout for opportunities to perform previously chosen plays than to be confronted with an occasion for which a play must immediately be chosen. That is, a good organization |