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Page 34
ARRANGING PRIVATE THEATRICALS
Everyone enjoys private theatricals, amateur and otherwise--the hostess,
the guests, and the actors and actresses themselves. It is an ideal means
of entertainment.
In arranging a private theatrical, which is almost invariably an amateur
venture, the first important thing to do is to find a play which is
adapted to that talent which is available. It is wise to appoint a
committee to read numerous plays and select for final consideration those
that seem best fitted to the type of actors and actresses available. If
one of the young men is naturally witty and bubbling over with hilarity
and good fun, he must not be given a part that necessitates grave and
solemn behavior. If he, and the other actors, are given parts not suited
to them, the play is doomed to failure before it is even staged.
Unless the performers have had some experience in theatricals it is best
to choose a comedy--for even a Greek tragedy in all its poignant
simplicity may become a farce in the hands of unskillful actors.
Rehearsals are of vital importance. The members of the cast must
rehearse and rehearse and rehearse again until they know their parts
perfectly. They must be punctual and regular in their attendance of the
rehearsals; continually to miss them is to spoil the play and a lack of
preparation on the part of one actor is unfair to the others, for
ultimate success depends on each one of the players.
The performance is usually given in the drawing-room of the host who
issues the invitations, which, by the way, must be sent out two or three
weeks in advance. The host must arrange for stage, lighting effects,
seating facilities and all the other incidental details.
THE PLAYERS
In assigning parts care must be taken, as was pointed out above, in
selecting that character which is most in accord with the player's own
character. This is so important that it cannot be overemphasized. And
when finally the correct part is chosen for him, he must learn his lines
so thoroughly that he will be able, figuratively, to "say them in his
sleep."
Costumes for the play may be obtained from any theatrical supply house.
They must be of the style prevalent at the date of the play; Colonial
clothes in a Mid-Victorian setting foredoom the play to failure. A
curtain may also be hired from a theatrical supply house, but it is very
simple to adjust one made at home by means of brass rings such as are
used in hanging portieres. There should be a separation in the center so
that the curtain may be drawn back from both sides.
Footlights may consist of a row of small electric lights, or a row of
reflector lamps will impart the desired effect to the improvised stage.
For wings, large Japanese screens will do or they, too, may be hired from
the people who supply the costumes.
To give the effect of lightning, a magnesia torch is most effective.
Thunder is simulated by beating slowly on a bass drum. Hoof beats seem
quite real when produced by beating two cocoanut shells on marble.
The danger of stage fright can be lessened and almost obliterated after a
sufficient number of rehearsals, and with that poise and self-confidence
that comes with true culture, one should be able to stand before the
largest audience without embarrassment or nervousness. It is one of the
rewards of correct training.
THE GUESTS
As in the musicale, silence is essential. There is nothing more
disconcerting to actors than to notice whispering, giggling or lack of
interest in the audience. Whether the play is worthy of interest or not,
courtesy towards guests and performers demands the appearance of
interest.
Guests must answer invitations promptly. In fact, in almost every
detail, attending a theatrical given in the home of a friend requires the
same etiquette as is observed at a fashionable evening musicale. In
departing, the hostess must be cordially thanked for the pleasant
evening, and if the actors are friends of the assemblage and join the
guests after the play, they, too, must be thanked for their share of the
entertainment.
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