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The Saint Paul globe. (St. Paul, Minn.) 1896-1905, August 21, 1904, Image 1

Image and text provided by Minnesota Historical Society; Saint Paul, MN

Persistent link: https://chroniclingamerica.loc.gov/lccn/sn90059523/1904-08-21/ed-1/seq-1/

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/^fe^^fc MAGAZINE SECTION S^£^^
CS^^S^VA M!^y SUNDAY. AUGUST 21, 1904. \ Xs---/yP .t't^-5
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REHEARSAL CALL!
SMITH AND BROWN.
The Managers Who Always Put
Out Winners.
We Never Close a Company.
Call—The Black. Black Heart
pany," Samoson's Hall.Tties
day morning. August 23. 10
-harp.
Call—"The Midnight Elope
ment Company." Elyria Hall. Au
jj. 10 sharp.
Call —"Happy Larrigan," the
greatest farce comedy ever!
Keep your eye on our return
dates. Rehearsal—Chorus. Wed
nesday. August 24. to a. m.: prin
cipals. 2 p. m.. Adelphi Hall.
We carry all our own special
scenery and paper. Out-of-town
managers wire for a few open
dates.
PICK up any dramatic, paper is
sued from New York City and
you will see calls like this by
the score, whole pages of them
in fact.
And down in some corner of the
news item you will see something like
this:
"Mr. Frohman has issued a call for
the company which will support Mr.
Drew in "The Duke of Killicrankie"
for a first rehearsal of Captain Mar
shall's play at the Empire on Monday
morning next at tt o'clock."
It i? just the different ways by
which different managers accomplish
the same end. And this end is the
crathering of the dramatic cohorts in
Xe-v York City.
Just when the world of playgoers
is making one final effort to escape
from the sweltering heat of dog-days
in town, the world of player-folk is
flocking back from seashore and
mountain, from summer cottage and
Long Island bungalow, from secluded
fastnesses and city gayeties of Eu
rope, to the hardest work of their
none-too-easy life—rehearsal.
There are not less than sixty halls
suitable for holding rehearsals in New
York City. Every one of them is in
demand to-day, and from early in the
morning until close to midnight their
walls echo the strains of popular
music, the quips of comedy or the
rumble of emotion and tragedy. Two
thousand actors or more, hundreds of
:iring. nervous stage directors.
-cnres of indefatigable piano players,
a dozen ballet masters, to say nothing
of scene painters, costumers, shoe
makers and property men, are work
ing over time in the sweltering heat,
that the world of theatregoers, now
-t-eking outdoor amusement by sea
i>r lake, may laugh and be merry a
month hence.
The dramatic season closes early
and opens at the first hint of fall. The
public comes back to town with an
appetite whetted for plays and music,
and if the world of players is to be
ready to cater to this appetite, it must
work early and late, heat or no heat.
And most of the time it is heat.
The real slaves of the rehearsal sea
-"ii are the choruses of musical pro
ductions. These are the first to be
summoned and the last to be dis
missed. At the first rehearsal they re
■ rive the uninteresting pages of one
part music, which represents their part
■ ; the score. During the first few re
hearsals they are permitted to sit
down and run through the music un
der the charge of the musical director.
Maxine
Elliott
As soon as they are familiar with the
music, enter the stage manager or
director to give them "the business."
This consists of the various dances,
marches, entrances and exits, to say
nothing of the proper groupings which
will give the star the centre of the
stage. If the dances are intricate,
girls especially agile are selected for
this work and placed in charge of a
dancing master. While the main
chorus rehearses on the stage or in the
center of the hall, the dancers are re
hearsed in an ante-room; or, if the
rehearsals are conducted in a theatre,
in the green room or the foyer.
These rehearsals run for several
weeks before the principals appear for
what is known as the ensemble, re
hearsal. The principals have also been
rehearsing, but in a separate and
smaller hall. Here they have become
perfect in their solos, duets, trios,
quartettes, etc. They are "up" in their
lines and business, and when they are
placed in rehearsal with the chorus
the piece begins to take on form and
substance. Rehearsals for large musi
cal productions run from a month to
six or seven weeks, according to the
intricacy of the action and music.
During this time the chorus is paid
not a cent, but the principals receive
some remuneration, usually half sal
ary. The stage manager, musical di
rector, accompanist and such stage
hands as are needed for the rehearsals
with scenery are paid full salaries.
The dress rehearsal is another try
ing event, for here, if at any time, de
fects in the production crop up. and
the actors must stand around until
manager playwright and stage direc
tor can agree on the change which
at this moment seems absolutely es
sential to the success of the piece.
And after the dress rehearsal flash
light photographs must be taken, so
ST. PAUL GLOBE.
that daylight is generally peeping
through the window when the tired
actor retires.
Mr. Charles Frohman has a personal
rehearsal such as is demanded by no
other manager. There is the regular
dress rehearsal, then on the next night,
or perhaps even a few nights later,
there is a rehearsal witnessed by no
one but Mr. Frohman. with perhaps
his stenographer at his elbow. The
entire performance is given just as it
will be offered on the opening night,
from overture to curtain fall, inci
dental music, electric lights—all free
from interruption of any sort. If there
is need of any change \fr. Frohman
has the stenographer makfe note of the
fact.
MAGAZINE SECTION
SUNDAY, AUGUST 21, 1904.
Rehearsal days prove the sort of
stuff a manager is made of. Then, if
ever, he shows his generalship, his
executive ability.. With his investment
hanging from the slender thread of
public opinion favor, he must hold
together the most finical of people,
the actors, who are ever following the
will-o'-the-wisp, "something better;"
he must "act as. a balance wheel and
arbiter between playwright and stage
manager, and he must ride from hall
to hall in hansom or automobile, for if
he is a manager of any standing what
ever.he has several companies rehears
ing at different halls—a group of danc
ers here, a chorus there, and the pub
lic's favorites, the principals, at still a
third.
Harned
Edna May
# # * Henrietta Crosman * * «$
? Lulu Glaser

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