THE 
 
 VAUDEVILLE 
 THEATRE 
 
 BUILDING-OPERATION- 
 MANAGEMENT 
 
 EDV^ARD RENTON 
 
lERKilCY 
 
 LIBRARY 
 
 UWirtRSJTY Of 
 CAUfO«N»A 
 
THE 
 
 VAUDEVILLE THEATRE 
 
 BUILDING 
 OPERATION 
 MANAGEMENT 
 
 BY 
 
 EDWARD RENTON 
 
 NEW YORK 
 
 GOTHAM PRESS, Inc. 
 
 Publishers 
 225 WBST 39th STREET 
 
tOAN STACK 
 
 Copyrisrht 1918 by 
 
 EDWARD RENTON 
 
 All Riehts Reserved 
 
 Printed in U.S.A. 
 
 
CONTENTS 
 
 pJ\'Ul9 
 
 Chapter I 
 GENERAL CONSTRUCTION 
 
 Page 
 
 Location, Site and Capacity 11 
 
 Planning, Designing and Construction . . . .17 
 
 Sight Lines 20 
 
 Acoustics 25 
 
 Heating and Ventilation . . . • . . . .27 
 
 Plumbing 31 
 
 Exits 31 
 
 Lobby 33 
 
 Foyer 34 
 
 Boxes and Loggias 34 
 
 Stage 35 
 
 Incidental Rooms 39 
 
 Motion-Picture Booth 40 
 
 The Electrical System 41 
 
 Decoration 66 
 
 Seats and Installation 69 
 
 Carpets and Floor Coverings 82 
 
 Draperies and Hangings 87 
 
 Chapter II 
 EQUIPMENT AND OPERATION 
 
 Lobby 93 
 
 Box-Office 97 
 
 Foyer 99 
 
 Auditorium .99 
 
 2oe 
 
Page 
 
 Manager's Office 101 
 
 Ladies' Room 102 
 
 Gentlemen's Room 103 
 
 Toilets 104 
 
 Ushers' Room 106 
 
 Porters' and Cleaners' Room and Utensils , . . 107 
 
 Check-Room Ill 
 
 Nursery , 113 
 
 Bill-Room 114 
 
 Moving-Picture Booth 114 
 
 Chapter III 
 
 THE STAFF 
 
 (Front of House) 
 
 The Manager 117 
 
 The Treasurer and Ticket Seller 129 
 
 The Superintendent 141 
 
 The Door-man . . 144 
 
 The Special Policeman 146 
 
 The Ushers 149 
 
 The Night Watchman 154 
 
 The Porters and Cleaners 155 
 
 The Ladies' Maid 158 
 
 The Footman 159 
 
 The Picture Machine and Spotlight Operator . .161 
 
 (Stage Employees) 
 
 The Stage Crew 165 
 
 The Stage-Manager 167 
 
 The Electrician 171 
 
 The Property-man 174 
 
 The Flyman 182 
 
(The Stage) 
 
 Page 
 
 The Stage 184 
 
 Stage Equipment 189 
 
 Hardware 190 
 
 Properties 190 
 
 Scenery 193 
 
 Sets and Settings 196 
 
 Dressing-Rooms 205 
 
 Chapter IV 
 
 ADVERTISING AND PUBLICITY 
 
 Newspapers 215 
 
 Billboards 230 
 
 Window and Street Car 238 
 
 Lobby Display 241 
 
 Special . . . • 246 
 
 Chapter V 
 
 MISCELLANEOUS 
 
 Uniforms 261 
 
 Programs, Advertising Curtains and Concessions . 268 
 
 Fires and Panics . 275 
 
 Insurance 284 
 
 The Orchestra 291 
 
 The Vaudeville Artist 299 
 
 Booking Affiliations 305 
 
PREFACE 
 
 NO one understands better than does the 
 author that to write a book containing all 
 the accurate details as to just how one 
 should build, open and manage a vaudeville 
 theatre would be a well-nigh impossible under- 
 taking. The author can hope only to bring to 
 your notice some hints and suggestions as to 
 thinffs vou mav have known and overlooked. Xo 
 doubt each vaudeville theatre manager, builder 
 or owner will find many things on which he will 
 disagree with the author; nevertheless, if the 
 reader finds some points of value, the work will 
 not be wasted. 
 
 It should be understood that all dimensions, 
 materials and prices mentioned in this book are 
 approximate and must be governed by existing 
 local building codes, rulings of competent archi- 
 tects, size of ground plots and the ever-changing 
 costs of materials. 
 
 The data and thoughts conveyed in this vol- 
 ume were collected during years of practical ex- 
 perience, close observation and personal contact 
 with the "other fellows," some successful, some 
 failures. 
 
 For both success and failure there are reasons, 
 and it is the desire of the author to set some of 
 them before you. 
 
 Edward Renton. 
 
 NeiD York 
 April 25. 1918 
 
CHAPTER I 
 
 GENERAL CONSTRUCTION 
 
 Location, Site and Capacity 
 
 IN this day and age, it costs a great deal of 
 money to erect a modern vaudeville the- 
 atre. That this cost may be justified and an 
 adequate return upon the investment realized, it 
 is essential first that the builder satisfy himself 
 that there is a profitable field for the operation 
 of such a theatre. Emphasis is laid upon this 
 point for the reason that there is perhaps no 
 single cause contributing so generally to the 
 financial failure of theatres in the country at 
 large as the fact that they were built in cities 
 which had already ample theatrical accommoda- 
 tions. 
 
 Our old friends "supply and demand" regu- 
 late the success of theatrical enterprises to just 
 the same extent as they do most others. 
 
 If it has been decided that there is a profit- 
 
 11 
 
able field for a theatre, the next point is that of 
 choosing its location and site. Often the pro- 
 spective builder owns or controls a site that he 
 considers ideal, and has been by this fact 
 prompted to erect a theatre. Sometimes it is 
 the case that the prospective builder merely feels 
 confident that another theatre is needed, and 
 starts out to secure what he considers a desir- 
 able location. In either event, the matter of lo- 
 cation and site is extremely important. 
 
 Taking it for granted that the proposed the- 
 atre is to cater to all classes of people — in other 
 words, the average audience — the author will 
 call attention to the more important points to 
 be considered. 
 
 It is obvious that the better the location, the 
 more business may reasonably be expected; the 
 busier the street or corner, the more people 
 passing, the more accessible to car-lines and the 
 more centrally located, the greater, all other 
 things being equal, will be the patronage given 
 the theatre. It follows then that the theatre 
 should seek the choicest site that can be secured 
 upon terms or under conditions acceptable to 
 the builder. The handicap of poor location has 
 spelled disaster for many a theatre otherwise 
 promising; and while it is true that if a show 
 is sufficiently attractive, people w411 go out to 
 
 12 
 
the woods to patronize it, the better practice is 
 to make the theatre just as accessible as pos- 
 sible. This involves high rental, but it also in- 
 sures good business; and a high rental in a 
 choice location as against a cheaper rental in an 
 inferior locale gives, in actual practice, the 
 former much the advantage of the latter in 
 realizing increased profits for the builder. 
 
 Once built, the theatre cannot be moved 
 about like a circus; once located and built, it 
 will be too late to justify a poor location by 
 the thought that "they ought to come" — so look 
 well to this point. 
 
 It is often the case that sufficient back 
 ground or more inexpensive land in the rear of 
 buildings fronting on a main street can be had, 
 at the same time securing a twenty-five or 
 thirty-foot frontage on the main street for lobby 
 purposes, this connecting with the larger plot 
 which should be sufficient in size to accommo- 
 date the auditorium proper. 
 
 Bear in mind that an undesirable neighbor- 
 hood; dingy and ill-kept buildings on both sides 
 of the theatre; a location such as requires your 
 patrons to pass saloons or questionable resorts, 
 are material factors. Following this line of 
 thought, be careful that the location is not so 
 close to railroad tracks that it will be almost 
 
 IS 
 
impossible to bar out the noise of switch en- 
 gines and passing trains. Is there a fire station 
 with its clanging bell adjoining the site or in 
 rear of the proposed location; is there a livery 
 stable with its smells and noises across the 
 alley ; a garage or other noisy institution so close 
 that it may disturb patrons or be heard during 
 quiet acts? Be careful to locate on the right 
 side of the street, for there are a right and a 
 wrong side of every street, a popular and an un- 
 popular side. Which way is the "town" mov- 
 ing — is your location one that in a few years 
 may be "out of it"? If so, don't build the the- 
 atre there. Bear in mind that a bank, a jewel- 
 er, a merchant may locate with much less need 
 of observing this point so carefully. But a the- 
 atre, dependent upon the whim of the public 
 in a large measure, should be so accessible that 
 if the idea occurs to people, while "downtown," 
 to see a show, they will find it conveniently 
 located and easy to get to. Hundreds and hun- 
 dreds of dollars will come to the favorably lo- 
 cated house each season, which the unfavorably 
 located one will not get, even if the one in the 
 good location have somewhat the poorer show 
 of the two. These conclusions are based upon 
 actual experience and observation, not upon 
 theories. 
 
 li4. 
 
The location being decided upon, the exact 
 site is the next consideration. Many a theatre 
 has ruined its builder or promoters through be- 
 ing unsuitably located. Perhaps even before 
 choosing a definite site, the question of capacity 
 should be settled. Is it desired to seat from 
 2,000 to 2,500 persons upon two floors? Or 
 that the capacity of the house shall be from 
 1,200 to 1,400? If the former, your site should 
 be not less than 100 to 120 feet wide by 175 to 
 200 feet deep; and if the latter, not less than 
 100 by 140 feet. By adding a third floor or 
 gallery, capacity may be increased five hundred 
 seats on the smaller, or eight hundred on the 
 larger plot. 
 
 By all means avoid the long, narrow theatre; 
 and DO NOT plan to build two balconies, un- 
 less it is your intention to provide a separate 
 floor for negroes; it is well to remember that in 
 some cities the better classes of the negroes 
 have declined to patronize a "second balcony" 
 reserved for them exclusively and served from 
 a separate ticket-window. Therefore, the bet- 
 ter plan is to divide the balcony front and rear 
 and provide a separate ticket-window and stairs 
 for the negro patrons. 
 
 It is urgently recommended that the larger 
 capacity be provided for if practicable. There 
 
 15 
 
are many reasons for this, not the least of 
 which is that given sufficient capacity, popular 
 prices may be established and increased net 
 earnings result. Also, if a theatre is estab- 
 lished, and has sufficient capacity to meet price- 
 cutting opposition, such opposition is much less 
 likely to occur. The larger capacity permits a 
 bigger show to be profitably presented, and it 
 tends to popularize a theatre through the pub- 
 lic's knowledge that a seat can generally be had 
 at that theatre; whereas the smaller one is often 
 overcrowded, forcing patrons to wait, stand or 
 come back later for another show. 
 
 The probable growth of the city should be 
 anticipated. During the current year, for in- 
 stance, enormous camps of soldiers have been 
 assembled near various cities. In such of them 
 as happen to have theatres of large capacity, 
 the owners and operators are reaping an un- 
 precedented harvest; where builders were so 
 shortsighted as to build for "today" alone, they 
 see thousands of would-be patrons, unable to get 
 into their theatres. Most cities have conven- 
 tions, fairs, carnivals, etc. Build a theatre that 
 will accommodate the crowds — for this means 
 money that will make a great showing in annual 
 results; and it will very likely be found that, if 
 
 16 
 
properly conducted, provided with a consistent- 
 ly good show, and made popular by good man- 
 agement, the theatre will be comfortably filled, 
 if not crowded, during normal times. 
 
 Be careful that the site allows for a wide 
 sidewalk, and a commodious lobby; look to the 
 provision for exit spaces that will be ample. 
 Regardless of the local legal requirements, pro- 
 vide a SAFE margin for these points. Do not 
 scrimp — rather overdo. An area or alley-way 
 at both sides of the theatre is very desirable. 
 This not only provides emergency and fire exit 
 space, but is of the greatest assistance in venti- 
 lating during the "dog days." Have these 
 points in mind when choosing a site, and while 
 the author realizes that often realty conditions 
 make it difficult to secure the ideal location and 
 site, it is much better not to build at all than 
 to do so without giving these elements proper 
 consideration. 
 
 Planning, Designing and Construction 
 
 A location and site for the proposed theatre 
 having been chosen, the next problems confront- 
 ing the builder involve the erection of the struct- 
 ure, choice of the architect who will plan and 
 supervise its construction, the firm which will 
 be entrusted with the general contract as well 
 
 17 
 
as all snb-contractors who are awarded the va- 
 rious contracts in connection with its building. 
 
 In the first place, and upon this point all au- 
 thorities seem to be agreed, the designing and 
 planning of the theatre should be entrusted only 
 to an architect who specializes in this branch of 
 his profession. There is probably no other type 
 of building which presents more difficult and 
 complex demands upon the architect and build- 
 er than does a theatre. Problems peculiar to it 
 are frequent and puzzling, and can be grappled 
 with successfully only by a man thoroughly ex- 
 perienced in such work. The more theatres an 
 architect has designed, the more desirable are 
 his services. He should know the especial re- 
 quirements for a vaudeville theatre, such as the 
 necessity for planning the structure to facili- 
 tate the handling of crowds whether one, two, 
 three or more shows are given daily; the need 
 for first-class motion-picture projection, and 
 the adapting of the building to a possible fu- 
 ture change of policy. It is not sufficient, 
 therefore, that he be merely a good architect; 
 it is essential that he be a theatrical architect, 
 not theoretically, but actually, if the theatre is 
 to be beautiful inside and out, and as nearly 
 perfect as possible in detail. 
 
 In the writer's opinion, if the builder is well 
 
 18 
 
advised he will take a trip to see a few of the 
 more recently built vaudeville theatres; will 
 study them carefully, and form a more definite 
 idea of modern practice bj^ this means than is 
 possible by any other. 
 
 Nearly every city governs the construction of 
 theatres by a special code; in the main these 
 codes are identical in their requirements as to 
 fireproof construction, ample and safe exits and 
 exit- ways. A serious responsibility rests not 
 alone upon the builder, but upon the architect 
 as well, for planning and devising a structure 
 that shall be as safe as human ingenuity can 
 devise and modern materials and equipment 
 make it. From a purelj' selfish standpoint, the 
 best practice and most approved means of ac- 
 complishing this are profitable; for the reduced 
 premiums paid for insurance of various kinds 
 will in the course of a very few years more 
 than make up for the slightly increased original 
 cost. Cost of fireproof construction does not, 
 as a rule, exceed that of semi-fireproof by more 
 than twenty per cent. 
 
 No attempt will be made to advise the pros- 
 pective builder as to the best materials to use in 
 the construction of the theatre to make it ar- 
 chitecturally beautiful; it is assumed that the 
 architect will handle this feature with due re- 
 
 19 
 
gard for such matters as cost, durability, effect 
 of climate, etc., whether the structure is to be 
 built of terra-cotta, brick, artificial or natural 
 marble, cement products, tile or stone. 
 
 Therefore, having in mind the planning of a 
 house not only to take care of to-day's business 
 and policy but with an eye to the future and a 
 possible change of policy as well, various points 
 will be considered in relation to the designing 
 and construction of the modern vaudeville 
 theatre. 
 
 Sight Lines 
 
 A great many theatres have been built with- 
 out proper attention having been given to the 
 matter of establishing the sight lines, with the 
 result that after opening, a gi*eat many seats 
 in the house were practically unsalable on ac- 
 count of their undesirability as points from 
 which to see the show. 
 
 The line of vision — or sight line — from every 
 seat to the stage must be unobstructed. No 
 patron should be subjected to the discomfort 
 of twisting about in order to see the stage. 
 If, because of defective sight lines, certain seats 
 are known to be undesirable, their sale at the 
 box-ofiice is attended by difficulty and dispute. 
 
 20 
 
Regardless of the size of the theatre, it is just 
 as easy as not to locate every seat in such a 
 way as will make it a desirable point from 
 which to see the show. 
 
 When, in planning the theatre, the subject 
 of sight lines is under consideration, the builder 
 and architect are urged not to pass this 
 point until they know that they have it ac- 
 curately, properly and intelligently settled. This 
 involves the elimination of columns or obstruct- 
 ing posts; proscenium boxes which interfere 
 with the view from side seats, and low-hung bal- 
 cony fronts. In a modern theatre, the use of 
 columns may be avoided by the cantilever sys- 
 tem of balcony and gallery support. 
 
 In establishing the sight lines, the reader will 
 not go wrong if the following requirements are 
 met: 
 
 A person standing at the back rail, in the 
 center of the main floor, should have an unob- 
 structed view of the asbestos curtain line at 
 eighteen feet above the stage floor. 
 
 A line drawn along the edge of the steppings 
 in the balcony or gallery should intersect the 
 curtain line between 4 feet 6 inches and 5 feet 
 6 inches below the stage. 
 
 That the occupants of rear seats in the bal- 
 cony may have a full view of aerial acts, it is 
 
 21 
 
essential that the proscenium opening be not 
 less than twenty-seven feet high at the center 
 of the opening. 
 
 The balcony steppings in the front of the 
 balcony should pitch slightly toward the side 
 of the house, being highest in the center and 
 grade up so that at the last stepping in the 
 rear of the balcony they are perfectly level all 
 the way across the house. This pitch to the 
 sides in the front rows of the balcony is, of 
 course, to be graduated according to the width 
 of the house. A width of one hundred feet 
 should pitch about one foot from the center. 
 
 The builder is strongly advised not to con- 
 struct a gallery, or second balcony. They in- 
 crease the cost of building out of all proportion 
 to the revenue derived from the seats. Gallery 
 seats are the cheapest in the house and the in- 
 creased height of the building is the costliest 
 construction. 
 
 If it is deemed necessary to care separately 
 for negro patrons, it is preferable to do this by 
 dividing the balcony with an iron rail, seating 
 negroes in the rear and providing a separate 
 entrance, stairs and ticket-window for this por- 
 tion of the house. On account of ventilation 
 requirements, the one-balcony idea is prefer- 
 
 22 
 
able, especially if it is to be partly occupied by 
 negroes. 
 
 Returning to consideration of the sight line 
 requirements: The main floor pitch, accurately 
 determined and based upon actual practice in 
 the construction of many theatres, should be 
 as follows: 
 
 First Row 3'4" below level of stage floor 
 
 (neither more nor less) 
 
 Next seven rows on same level as first row. 
 
 Next eight rows pitch floor 14" to the foot 
 
 Next eight rows pitch floor ^'' to the foot 
 
 Next eight rows pitch floor 5^" to the foot 
 
 Next eight rows pitch floor 54" to the foot 
 
 Next eight rows pitch floor 1" to the foot 
 
 Next eight rows pitch floor li^" to the foot 
 
 Next eight rows pitch floor IJ^" to the foot 
 
 Cement floors should not be less than 2 in. 
 thick, clear cement finish, in order that chairs 
 may be securely fastened. Wood floors should 
 not be less than Ij in. thick, with a 1-in. mix- 
 ture of cement and cinders, solidly packed, un- 
 derneath the wood flooring. Of the two floors, 
 cement is the cheaper to lay, though not as com- 
 fortable unless there is a heated basement. 
 
 It is well established that not less than two- 
 thirds of the stage should be visible to those 
 seated in the extreme side seats. If the plot 
 size is such that it is possible to arrange seating 
 so that more than two-thirds of the stage will 
 be visible to persons so seated, it is very desir- 
 
 28 
 
able that this be done. To accomplish this it is 
 necessary that the width of the house in propor- 
 tion to the proscenium opening be accurately 
 adjusted, and that proscenium boxes be care- 
 fully placed so as not to obstruct the view from 
 the extreme sides. 
 
 In general, it will be seen that the slope or 
 grade of the floor results in those in the front 
 rows looking slightly upward, those in about 
 center looking in a practically level direction, 
 and those in rear rows looking somewhat down- 
 ward, establishing a different sight line from 
 each seat and each row to a given point on the 
 stage. It is therefore necessary so to adjust 
 the pitch or slope and so set the chairs as will 
 make it unnecessary for the patron to crane or 
 stretch from side to side, up or down, in order 
 to look past the person seated immediately in 
 front. Every seat should be placed at right 
 angles with the line of vision from that seat, 
 and an aisle should never be located down the 
 center of the house. 
 
 The writer hopes that the important subject 
 of sight lines will receive from the architect 
 and builder the thorough and careful attention 
 it merits. 
 
 24 
 
Acoustics 
 
 The transmission and reflection of sound 
 waves has now been reduced to a matter of ex- 
 act scientific knowledge, and we are able accu- 
 rately to solve the problem of acoustics as gov- 
 erned by known conditions. In other words, 
 we now know under just what circumstances a 
 sound wave may be projected a maximum dis- 
 tance; under what conditions it will be muffled, 
 deadened or destroyed, and this knowledge en- 
 ables us to secure good acoustic properties in 
 the erection of a theatre. 
 
 A sound wave starts at the origin of the 
 sound and expands in all directions until either 
 lost by constantly diminished power, or reflect- 
 ed, as a ray of light would be, into other direc- 
 tions until diminished to inaudibility. Thus, 
 the sound originated on the stage strikes the 
 ceiling, walls and boundaries of the space within 
 the auditorium, and is reflected from these sur- 
 faces to the ears of the audience. A certain 
 portion of the expanding sound wave reaches 
 the ear directly, without reflection. It is essen- 
 tial that the direct wave, or spoken word trans- 
 mitted as sound, reach the ear at the same time 
 as the reflected wave or word. If it does not do 
 this, then the sound or word is broken into two 
 
 25 
 
or more bits, each reaching the ear an infinites- 
 imal fraction of time apart, with the result that 
 the word is confused, difficult to understand or 
 to hear clearly. The ear is not sensitive enough 
 to catch the distinct separation of these waves, 
 except in case of a pronounced echo, but does 
 appreciate that the sound has become muffled, 
 indistinct and hard to "understand." 
 
 To make this still more clear, let us assume 
 that a pistol is fired on the stage. The sharp 
 report radiates from its source in every direc- 
 tion; that going backward is reflected out front 
 by the back wall or the scenery; some goes up 
 (if there is no ceiling on the set) and is lost in 
 the rigging; some goes out into the auditorium, 
 strikes the walls, ceilings, draperies, etc., and 
 is by these reflected into space again, but being 
 confined to the auditorium, does not diffuse it- 
 self into open atmosphere. Then, part of the 
 wave, not reflected, reaches directly from 
 the source to the ear. Now, as sound travels 
 with extreme rapidity, it is possible so to ar- 
 range the auditorium that each reflected wave 
 will reach the ear at practically the same instant 
 as the direct wave. The surfaces which the 
 sound is to strike must be taken into consider- 
 ation, as to material and construction; the very 
 high ceiling, deeply recessed box and echoing 
 
dome should be avoided; these not only dissi- 
 pate the sound originated on stage and "lose" it 
 by repeated re-reflections within their own con- 
 fines, but as well bring it tardily to the ear of 
 the audience, and confuse its clarity and sharp- 
 ness. The echo is but a sound wave reflected 
 a longer distance and consequently reaching the 
 auditor}^ sense an appreciable time after the di- 
 rect wave has been received. 
 
 The acoustic properties of the auditorium 
 will therefore be largely governed by the 
 height of the ceiling or "dome," the number of 
 nooks and crannies in which the waves may be 
 lost or muffled (every obstruction to their 
 smooth passage or direct reflection operating to 
 deaden them), the material of which the walls 
 are made and covered, the character of draper- 
 ies, curtain, etc. 
 
 If the sound wave is treated as a light ray 
 would be, and its reflections thus studied, it 
 becomes a simple matter to calculate just what 
 the effect of certain structural arrangements 
 will have upon the acoustics of the theatre. 
 
 Heating and Ventilation 
 
 There are many types of heating systems, 
 but despite the often plausible and convincing 
 
 27 
 
arguments of their supporters, systems other 
 than "direct radiation" with live steam as the 
 heating agent, have in actual practice, fallen 
 short of the requirements of the theatre, which 
 here, as in most other departments, presents 
 problems peculiar to itself. 
 
 Here we have a large roofed auditorium 
 which prior to the time of shows requires con- 
 siderable heat to be generated and radiated to 
 warm it; then during the brief half-hour that 
 it is being filled with people, the doors are con- 
 stantly opened, requiring still more heat to keep 
 it from being chilled; yet shortly after it is 
 filled, the animal or body heat given off by the 
 people in it necessitates a rapid reduction in the 
 amount of heat being radiated, which is re- 
 placed by that from the bodies of the audience. 
 
 Ample boiler or generating capacity, com- 
 bined with intelligently calculated radiating sur- 
 face, properly placed, and the use of steam as 
 the heating agent, has again and again proved 
 its superiority to every other known heating 
 system, and in the writer's opinion will hold its 
 position of supremacy in this field. 
 
 As a general proposition, the radiation should 
 be greater in the lobby and near outside open- 
 ings, than in spaces walled up or closed; for if 
 the cold air which comes into the house during 
 
 28 
 
the time it is being filled and emptied is heated 
 at the point of entrance, the draft occasioned 
 will not be so noticeable or so injurious to 
 patrons as when this cold air is not at least 
 partly heated at the point of entrance. 
 
 It is not to be understood that the temper- 
 ature is to be changed, but that a reduction in 
 steam pressure, immediately after the house is 
 filled, is essential to allow for the heat added to 
 the atmosphere by radiation from the human 
 bodies within the theatre. 
 
 Architect's plans should provide for placing 
 all radiators in lobby, foyer, incidental rooms 
 and auditorium, in recesses in walls. After be- 
 ing placed they should be protected by a one-inch 
 mesh brass or iron wire guard, which should be 
 hinged or arranged to open so that space may 
 be cleaned, radiator repaired, etc. On the stage, 
 if radiators are not in recesses and protected, 
 as suggested, by meshed guards, they may be 
 placed on walls at least eighteen feet above the 
 stage floor, so as to "clear" the scenery packs, 
 etc. As hot air rises quickly, if they are placed 
 so high considerable heat will be wasted, there- 
 fore it is preferable to recess stage radiators 
 into walls at floor level. 
 
 The problem of properly heating the theatre 
 is so closely connected with that of ventilating 
 
 29 
 
it that the two subjects are treated under one 
 heading. 
 
 Air is rapidly vitiated in an auditorium filled 
 with people, and if kept warm, but not renewed 
 with fresh air, will soon sicken the audience — 
 cause fainting and headaches and have other 
 generally disagreeable results. 
 
 There are various ventilating systems, each 
 with its supporters, and each possessing its good 
 points. There is the system which contem- 
 plates forcing air, by means of electric fans, 
 through a spray of cooled water or over chilled 
 pipes, or through ice vaults into the theatre, and 
 exhausting it through ceiling ports after it has 
 been vitiated; there is a system which contem- 
 plates forcing the air in at the ceiling and ex- 
 hausting it through the floor ducts, and there 
 is the system which provides for forcing in a 
 large volume of air and permitting it to find its 
 own means of egress, through doors, windows, 
 etc. Ceiling and wall fans are often used to 
 supplement these systems. 
 
 The writer does not recommend any special 
 system above any other, but he does insist upon 
 the importance of a proper system of ventila- 
 tion, to be effective and yet economical in oper- 
 ation, to keep the house cool in summer and 
 fresh and sweet-smelling in winter. Foresight 
 
 30 
 
in this matter will make a theatre an "all-year" 
 enterprise and the original expense of installa- 
 tion will be more than justified by the increase 
 in hot-weather patronage. 
 
 Plumbing 
 
 It may be well to emphasize a few points in 
 connection with this, and to lay stress upon the 
 necessity of providing amply sized sewer con- 
 nections; waste pipes being laid with sufficient 
 "fall" and of size large enough to take care of 
 their load; water supply pipes of sufficient size 
 to carry a good "head" of water to the highest 
 fixtures; of installing cleaner's sink connected 
 with hot and cold water on each floor of the 
 theatre and, on dressing-room floors, large lava- 
 tories for each dressing-room with hot and cold 
 water supply, and hose connection for one-inch 
 line at front of building, in lobby, on stage and 
 under stage for use of cleaners. 
 
 Exits 
 
 In another chapter the subject of panics, 
 danger of insufficient exits, etc., is treated at 
 length. The purpose of this article is to sug- 
 gest that in planning the theatre more exits 
 than the law requires be, if possible, provided; 
 
 31 
 
that the exit lights be placed in metal boxes, re- 
 cessed into the wall above doors and decorated 
 with ornamental plaster or stucco frame or 
 front, harmonizing with the other decorations 
 of the theatre. 
 
 There should be not less than two exits on 
 each side of the house for each floor. They 
 should be not less than 5 feet wide and open 
 outward, entirely into clear and flat back 
 against the outside wall. The two exits on 
 each side should be separated from each other 
 as widely as possible. Practically every city in 
 the country regulates width and location of ex- 
 its by ordinance, and the foregoing meets the 
 average requirements. If the city does not reg- 
 ulate this feature of construction, the state laws 
 usually do, and both should be carefully con- 
 sulted in planning the construction. "Exits," 
 within the meaning of the law, are sometimes 
 considered as distinct from the lobby or en- 
 trance doors. 
 
 As a general proposition there should be not 
 less than 25 feet of lobby door openings, though 
 this need not all be in one place. For instance, 
 the lobby might be 15 feet wide, with 15 feet 
 of lobby door openings, and then 10 or 12 feet 
 of doors may be put in the side of the audi- 
 torium, if it faces on a street or an alley which 
 
 32 
 
leads to a street. The orchestra floor exit area, 
 with two 5-foot exits on each side, and 25 feet 
 through or in connection with lobby, gives a 
 total of 45 feet of exit space for the main floor. 
 
 Lobby 
 
 The treatment of the lobby as to decorations, 
 etc., will naturally require careful attention. 
 As to its size, that point will very likely be 
 governed by the size and lay-out of the plot, and 
 the building codes, but it is suggested that with 
 the constantly rising value of property, and in 
 accordance with modern practice in the larger 
 cities, the lobby space be limited to what will 
 be required actually to handle the crowds, and 
 not provide a loafing place for the populace. 
 Toilets, check-rooms, smoking-rooms, etc., 
 should not be planned with entrances off the 
 lobby, but all such facilities placed within the 
 theatre, so that those using them must have 
 passed the door-man; this is assurance that they 
 will be used only by patrons of the theatre, and 
 not by the public at large. The public tele- 
 phone booth may be located off the lobby, and 
 should be provided for; its facilities should be 
 available without entrance to the theatre, as 
 
 $5 
 
patrons often wish to call friends about tickets 
 when they purpose purchasing, etc. 
 
 All radiators should be recessed, as has been 
 stated, provision should be made for wall frames 
 and "lobby display" of photos, etc. 
 
 Foyer 
 
 Sanitary drinking fountains and entrances to 
 ladies' and gentlemen's retiring rooms should be 
 located here. Also, if desired, a room in which 
 trays, cups, etc., may be kept for ushers' use in 
 passing water. If this is done, pipe water here 
 for cooler. All doors should be equipped with 
 approved door checks that will close them 
 noiselessly, but surely. Arrange both ladies' 
 and gentlemen's retiring rooms so that persons 
 passing in foyer cannot look into them. 
 
 The foyer should be twelve to fifteen feet in 
 width, from the standing rail to lobby doors or 
 back wall. This not only will provide ample 
 space in which to handle patrons to the various 
 aisles, but sufficient revenue earning "standing 
 room" to justify the width upon those occasions 
 when all seats are sold. 
 
 Boxes and Loggias 
 
 Properly located, boxes add considerably to 
 
 84i 
 
the dignity and decorative effects of the the- 
 atre; and there are a good many people who 
 prefer to sit in them even if they are not the 
 best location in the house. Boxes and loggias 
 bring a larger revenue, per seat, than other 
 sections of the house. Loggias, located in front 
 of the balcony and railed off into enclosures, 
 seat four to a dozen persons. Behind these 
 the "first rows" of the balcony command the 
 usual balcony price, while the loggia seats com- 
 mand the price of main floor accommodations. 
 It is good practice to have these a little more 
 elaborately carpeted than the other section of 
 the balconj^ with chairs of the same types as 
 are used in the boxes. 
 
 The Stage 
 
 As to size — if possible, let the minimum be 
 75 feet into clear from wall to wall, and 40 
 feet from curtain line to back wall. The au- 
 thor realizes that this must obviously be regu- 
 lated by the size of the plot and the space avail- 
 able, yet the plot should be chosen, if possible, 
 with a view not only to securing sufficient room 
 for an ample capacity in the auditorium, space 
 for lobby, areas, exit-ways, etc., but as well to 
 afford adequate stage room. 
 
 36 
 
Vaudeville shows come along with a rather 
 voluminous arra}^ of properties, sometimes; for 
 instance, a diving act with a big tank, an animal 
 act with a number of cages, a sketch with spe- 
 cial set and furniture, or a singing act with a 
 grand piano; and limited stage room hampers 
 the proper presentation of such shows. 
 
 The proscenium opening should be propor- 
 tioned about as follows: 
 
 WIDTH 
 
 r-PR08CENIUM 
 
 AHCH^ 
 
 OF THEATRE 
 
 WIDTU 
 
 HEIGHT 
 
 60 feet 
 
 80 feet 
 
 24 feet 
 
 60 feet 
 
 84 feet 
 
 80 feet 
 
 70 feet 
 
 40 feet 
 
 34 feet 
 
 80 feet 
 
 44 feet 
 
 86 feet 
 
 90 feet 
 
 46 feet 
 
 88 feet 
 
 In general, the rule is that the width of the 
 proscenium should be six feet greater than its 
 height. 
 
 The floor of the stage "in one" should be laid 
 in maple or other hardwood, and the balance of 
 the stage in good, clear, narrow T & G floor- 
 ing, free from knots, thoroughly kiln dried and 
 seasoned. No other floor is required to stand 
 the abuse that a stage floor is called upon to 
 sustain, and to be right, it must be securely 
 laid. The flooring should run up and down; 
 that is, be laid from apron to back wall, not 
 from side wall to side wall. 
 
 36 
 
The fly-gallery, located on the "prompt" 
 side, with thoroughly secured pin rail, floor, 
 etc., should run from back wall to front wall of 
 stage, and if there is room on stage, it is well 
 to locate a pin rail there also, to which work- 
 ing lines may be run; this in some cases elim- 
 inates one employee, through lack of need for 
 a flyman. In any event, a small pin rail should 
 be located on stage in the average theatre, for 
 use with acts requiring a "life line," etc. The 
 floor of the fly-gallery should be at least 24 
 feet in height above the stage and 8 to 14 feet 
 in width. The pin rails should be located front 
 and back of the gallery, the front rail for work- 
 ing lines and the back one for "dead" lines. 
 
 About 10 feet above the stage floor, on both 
 sides of the proscenium arch, should be firmly 
 fastened platforms for use of spotlight oper- 
 ators required by big or spectacular acts. 
 
 The rigging loft should not be less than 50 
 feet above stage. Standpipes, fire-fighting equip- 
 ment, fire alarm box, should all be so placed 
 that scenery can not be packed against or over 
 them; and they should be, preferably, placed in 
 recesses in the walls, so as to leave the surface 
 of the stage walls, so far as practicable, free of 
 obstruction. 
 
 The gridiron, or rigging loft, needs to be of 
 
 87 
 
very secure construction, as it is often required 
 to carry a very heavy load. There should be 
 6 feet of headroom between gridiron and roof. 
 
 The asbestos curtain of approved weight and 
 construction, running in sheet iron runways, is 
 now so universally required by law that pro- 
 vision for one of these is not likely to be over- 
 looked. Counterweighting and balancing it so 
 that it runs easily, smoothly and noiselessly is, 
 of course, essential. The asbestos curtain should 
 be 2 feet larger each way, side and top, than 
 the opening. 
 
 The loading door should not be less than 8 
 feet wide by 16 feet high, with a smaller door 
 inside the larger one, for use when it is not nec- 
 essary to open the bigger door. Care should be 
 taken that this is securely hung and swings 
 freely when opened. 
 
 The switchboard should be placed on the 
 "prompt" side of the stage, its edge about 6 
 feet in from proscenium frame (if located on 
 stage) and should stand 3 feet from the wall, 
 with wall recessed behind it so as to pro- 
 vide ample working space. It should be so lo- 
 cated that the electrician can see the action tak- 
 ing place "in one," through an opening which 
 he will doubtless provide for that purpose, close 
 to the wall, in the first entrance. In the larger 
 
 38 
 
theatres, switchboards are frequently located 
 above the floor of the stage, but this should be 
 done only when it is known that the crew will 
 be so numerous as to provide the electrician with 
 sufficient assistants so that he will not have any 
 duties to perform requiring his presence on the 
 floor of the stage during the show. In general, 
 it will make for economy to locate the board 
 on the floor, and it will not lessen its efficiency 
 or that of its operator. 
 
 Incidental Rooms 
 
 Strange as it may seem, it is not unusual for 
 theatres to be planned and built without proper 
 provision for the various rooms needed for ac- 
 commodation of the several departments of the 
 house. To provide a check against this possible 
 oversight, the rooms or quarters now consid- 
 ered most essential in the modern theatre are: 
 
 Manager's office; superintendent's office; jan- 
 itor's and cleaners', ushers' dressing, ladies', 
 gentlemen's, supply (adjacent to manager's or 
 superintendent's), property, electrician's, stage 
 manager's, carpenter's and musicians' rooms, 
 toilets and any others deemed necessary for the 
 requirements of a particular theatre. 
 
 These should be allowed for, and their ven- 
 
 39 
 
tilation and lighting included in the general 
 planning. 
 
 If practicable, a cleaners' room, with running 
 hot and cold water and large slop-sink, should 
 be planned for each floor of the theatre, with 
 space within the closet for hanging mops, 
 brooms, dust cloths, dusters, etc. A similar 
 room should be placed under the stage. 
 
 Boiler rooms should be located with special 
 reference to street level, and to facilitate the 
 handling of fuel and ashes. 
 
 The fan room — as part of the ventilating sys- 
 tem — is generally located under the stage. (The 
 elimination of noise from pumps, fans and fan 
 motors necessitates placing these in isolated 
 rooms. ) 
 
 Motion-Picture Booth 
 
 The physical structure of the motion-picture 
 booth is now almost universally regulated by 
 law, as well as the number and size of openings, 
 the character and type of shutters, windows, 
 ports, etc., which are permissible. 
 
 The booth should be absolutely rigid, of suf- 
 ficiently heavy construction to eliminate all vi- 
 bration; its fire doors and traps should all work 
 smoothly and as nearly noiselessly as possible. 
 
 40 
 
It should be built to accommodate two ma- 
 chines, a spotlight and a dissolver or lantern- 
 slide projector. In planning the booth, it is 
 well to be as generous as possible in the allow- 
 ance of room and ceiling height, as well as 
 equipment of vents and exhaust fans to the 
 open air. 
 
 To accommodate two machines, the booth 
 should be not less than 8 feet by 10 feet with a 
 7- foot ceiling; three machines require about 8 
 feet by 14 feet. Observation ports should be 
 about 8 inches by 12 inches, placed at such 
 height from the floor that the operator, stand- 
 ing about 3 feet from the port, at his ma- 
 chine, can see the entire screen without cran- 
 ing. In many booths it is considered best to se- 
 curely fasten clear plate glass in these ports as 
 a fire guard in addition to the metal shutter. 
 
 The Electrical System 
 
 The writer believes that it should not be nec- 
 essary, in this enlightened age, to emphasize 
 the desirability, indeed, the obligation, of most 
 careful planning and installation of the elec- 
 trical system of a theatre; nor does he purpose 
 writing a technical treatise on electricity and its 
 control; but he feels it wise to call attention to 
 
 41 
 
and discuss certain features which within his 
 observation do not always receive the consider- 
 ation they deserve, involving costly errors and 
 oversights which may easily be avoided. 
 
 It is suggested that at the time the plans for 
 wiring are made there be provision made for 
 the laying of extra lines of conduit between the 
 various parts of the . theatre, and for extra 
 switches to control wiring which may at some 
 future time be laid in such extra lines. It is 
 almost invariably the case that, after the wiring 
 is completely installed and the theatre is opened, 
 a need occurs for additional lines and outlets; 
 it is much less costly to have installed extra 
 lines and switch controls at the time of con- 
 struction, than afterwards. 
 
 As a general proposition established codes, 
 local ordinances and regulations cover in detail 
 the type of construction which is permitted, and 
 there is more or less uniformity in the codes in 
 effect in various cities. Usually they are based 
 upon practices recommended by the National 
 Board of Fire Underwriters, and often they re- 
 quire the use of fixtures which have been offi- 
 cially approved by this Board. Regardless of 
 whether or not this is a legal requirement, it is 
 well to follow the recommendations of this 
 Board, and permit the use only of such conduit, 
 
 42 
 
cable, outlets, fixtures, etc., as bear its approval. 
 The approval of the Underwriters' Laboratories 
 is given only after exhaustive tests of the ar- 
 ticles examined. 
 
 Though the electrician may laugh at empha- 
 sis being laid upon the point of seeing that cer- 
 tain obvious things are done, nevertheless the 
 failure to make it a condition of the contract 
 for the electrical work that these obvious things 
 be done has cost many a theatre much money. 
 
 In wiring — all wiring — a careful estimate 
 should be made of the load the wire is to carry. 
 For instance, if it is the marquee or front sign 
 that is being planned, the electrician should 
 be THOROUGHLY postcd as to what size of 
 lamps will be used, and how many of them. 
 Then, it is well to just about double the ca- 
 pacity of the wire, for the reason that as time 
 passes we incline to the use of more and more 
 light, and the system originally planned to pro- 
 vide for a certain number of lamps of a certain 
 size, refuses to take care of the same number 
 in an increased size. For one reason or an- 
 other, it may be desired to use larger, brighter 
 lamps than were originally planned, and it is 
 well to design the original installation with this 
 in view. 
 
 If wiring is overloaded beyond its accurately 
 
 43 
 
estimated capacity, it will heat, burn off insula- 
 tion, and perhaps set the building afire. There- 
 fore, in ALL WIRING, anticipating that the 
 future may bring us something different in 
 lamps from those we are now using, as in the 
 past we have progressed from the carbon to the 
 tungsten filament, and then to the nitrogen 
 mazda, the possible wish to use heavier, bigger 
 lamps should be provided for, and original lines 
 built that will carry, if desired, greater loads 
 than first planned for. The difference in cost 
 of original installation will be slight compared 
 to advantages gained in later years. 
 
 Contracts for the electrical work should spec- 
 ify that the conduit, wire, switches, fixtures and 
 appliances shall be of a type approved by the 
 National Board of Underwriters, and after a 
 contract has been made up, before its sig- 
 nature, it should be submitted, with a request 
 for advice and suggestions, to the local insur- 
 ance experts and to the local fire marshall, 
 or other proper department of the city admin- 
 istration. 
 
 A few general suggestions in connection with 
 the making of the contract for this important 
 part of the construction work are submitted: 
 
 1st: Contract should only be awarded to a 
 concern which is thoroughly responsible finan- 
 
 44 
 
cially and is experienced in strictly theatrical 
 work, or which will provide an experienced su- 
 perintendent, familiar with theatrical installa- 
 tions, to oversee the work generally. 
 
 2nd: Contract should carry a clause requir- 
 ing the contractor to be prepared to install his 
 part of the work in such manner and at such 
 times as will not delay the building or other 
 contractors, and a clause should carry a pen- 
 alty provision for non-compliance. 
 
 3rd: After completion of the work, and 
 prior to acceptance, each floor, each main and 
 each individual line shall be free from grounds, 
 breaks or short-circuits; no branch circuit shall 
 show insulation resistance below 25,000 ohms, 
 the test to be made under supervision of a rep- 
 resentative of the Board of Underwriters, city 
 electrician or other chosen parties, in conjunc- 
 tion with the architect. 
 
 4th: Installation to be complete in e'\t:ry 
 respect, and any item omitted from specifica- 
 tions, necessary to the proper installation and 
 operation of the equipment, shall be installed 
 by the contractor without extra charge. (This 
 puts responsibility up to the contractor for see- 
 ing that specifications are complete.) 
 
 5th: All conduit and conduit fittings to be 
 of enameled, rigid type, so installed that wires 
 
 46 
 
can be removed without defacing plaster, mar- 
 ble or woodwork. Conduits to be continuous 
 from cut-out boxes to outlets, and of sufficient 
 size to permit the easy insertion or withdrawal 
 of wires, without injury to installation. All 
 conduits to be free from burrs; to have water- 
 tight, red-leaded joints; to be installed, so far 
 as practicable, after floor beams are laid; fas- 
 tenings to be about 4 feet apart and secured 
 by approved straps. 
 
 6th: At each outlet, flush switch receptacle, 
 etc., approved outlet boxes are to be set flush 
 with plaster line. 
 
 7th: Fixture hangers to be installed at each 
 bracket and ceiling outlet to be of suitable and 
 safe type, of sufficient strength safely to sup- 
 port the fixture to be installed. 
 
 8th: All wire used to be of hard grade cop- 
 per, 98 per cent, conductivity, with high-grade, 
 approved, rubber insulation. No wire smaller 
 than No. 14 B&S gauge for circuits in front of 
 curtain line, or No. 12 B&S gauge back of cur- 
 tain line shall be used, and all wire larger than 
 No. 8 B&S gauge shall be stranded. 
 
 9th: All work must comply in every respect 
 with codes, city ordinances and with Under- 
 writers' requirements. 
 
 10th: All temporary lighting and lights re- 
 
 46 
 
quired during construction and equipment to be 
 furnished and maintained by the contractor 
 during prescribed working hours; overtime as 
 agreed upon. 
 
 11th: Contractor to pay all costs of secur- 
 ing motor, lamp, wiring and installation inspec- 
 tions by the city officials and Underwriter's 
 representatives, and shall be responsible for se- 
 ciu'ing from the necessary sources certificates 
 showing approval of the installation, and the 
 architect and builder shall not accept the in- 
 stallation or consider contract completed until 
 this has been done and the proper certificates 
 turned over. 
 
 12th: All piping in front of curtain line to 
 be concealed if possible, but on stage may be 
 "open" or unconcealed. 
 
 13th: All panels to be of a specified gauge 
 of metal, with self-closing doors fitted with 
 snap locks and keys. Marbleized slate not less 
 than one inch thick shall be used for mounting 
 buss bars and switches; liberal wire-way gut- 
 ters provided; bottom barrier to be set at an 
 angle of 45 degrees to prevent bottom of cab- 
 inet being used as receptacle for miscellaneous 
 articles. 
 
 14th: Specifications to be carefully and com- 
 pletely drawn by architect, checked by city elec- 
 
 47 
 
trician or other proper official, re-checked by- 
 representative of National Board of Under- 
 writers, and EVERY effort made to see that they 
 are complete in every detail. 
 
 We will now consider separately, the 
 
 HOUSE LIGHTING, STAGE LIGHTING and INCIDEN- 
 TAL electrical system: 
 
 House Lighting: Including front of theatre, 
 lobby, foyer, auditorium, incidental rooms, and 
 in general all lighting in front of curtain line. 
 
 Inasmuch as the failure of lights, wholly or 
 partly, may not only ruin an act or a show, 
 but may cause panic as well, emphasis is again 
 laid upon the necessity of the house lighting 
 system being of an approved type and in ac- 
 cordance with codes. 
 
 In recent years a truly wonderful improve- 
 ment has been made in lighting systems and 
 methods; in fact, the old style of direct light- 
 ing from ornate, elaborate, dust-gathering fix- 
 tures has become almost obsolete. 
 
 In general, there are now three recognized 
 systems of lighting, termed respectively direct, 
 SEMI-DIRECT and indirect. Of these the first- 
 named is the oldest, and now-a-days the least 
 desirable. It was thought that the direct sys- 
 tem provided a hundred per cent of lighting 
 efficiency, but it is now known that it does not; 
 
 48 
 
furthermore, this system results in a spotty 
 glare, deep shadows, harsh contrasts and eye- 
 strain, and its only advantage is a slight saving 
 in current consumption as compared with the 
 semi-indirect and indirect systems. 
 
 The DIRECT system is one where the light 
 is thrown directly outward or downward, with 
 or without shades, the globes being exposed to 
 the sight and reflecting their rays directly into 
 the illuminated area. 
 
 The SEMI-INDIRECT system is one in which 
 the fixtures reflect the greatest volume of light 
 emitted against the ceiling or walls, but permit 
 some of the illumination to be diffused through 
 translucent mediums in the bottom or sides of 
 fixtures. 
 
 The INDIRECT system is one where the fixtures 
 are of the inverted-bowl type, reflecting light 
 against the ceiling and walls, whence it is re- 
 reflected into the illuminated area. This results 
 in filling the atmosphere with a soft, diffused 
 glow, yet no glaring point is visible to the eye. 
 
 A combination of the semi-indirect and in- 
 direct is sometimes preferred, beautiful effects 
 being thus attained. 
 
 Another extremely effective modern system 
 of using indirect lighting provides for the in- 
 stallation of the lamps behind ceiling coves, and 
 
 49 
 
there is a splendid type of lamp with a half- 
 silvered interior, which acts as a reflector, es- 
 pecially suited to this use. 
 
 A carefully studied, intelligently planned sys- 
 tem of indirect lighting will result in a beauti- 
 ful effect, well worth achieving, and affording 
 positive eye-comfort to patrons. A theatre fully 
 lighted, so that programs may be read with 
 ease, yet without a single glaring point of light 
 being visible to the eye, is something very at- 
 tractive and is a potent proof of the modern- 
 ity of the house. The soft, light-filled at- 
 mosphere shows ornamentation, draperies and 
 fixtures to infinitely better advantage than does 
 the glare of the direct system. 
 
 The use of other than pure white lamps should 
 be studied; often a half-and-half amber and 
 white lighting is richer and more effective. 
 
 For stairways, special lighting should be pro- 
 vided. Fixtures and lamps made especially for 
 this use are now catalogued. These lights should 
 never be turned out during a performance or 
 while there are patrons in the house — turning 
 them off may net an expensive damage suit. 
 Therefore, they should be so arranged as to 
 permit their use during dark changes, etc. 
 
 Expert advice is available on lighting ques- 
 tions from the makers of fixtures and lamps, 
 
 50 
 
and it is advisable that the prospective builder 
 avail himself thereof. 
 
 The "Exit" light circuit must also burn all 
 the time the house is open, and this should be 
 taken into consideration in arranging the cir- 
 cuits and fixtures. 
 
 In planning the theatre, provide liberally for 
 electrical illumination of the front. A famous 
 showman once said, "White paint and white 
 lights will draw people, and flies" — and this 
 is especially true with reference to white lights 
 and many of them. The electric sign — or signs 
 — on the front should receive consideration in 
 the form of a liberal appropriation. As the 
 reader knows, there are numberless different de- 
 signs of "still," "reading" and "flashing" signs, 
 and these range in cost from about $15 for the 
 cheapest type of "still" sign, to thousands for 
 the elaborate "reading" and "flashing" com- 
 binations. Concerns making such signs will 
 gladly submit suggestions and prices. Do not 
 build a beautiful, modern and costly theatre 
 without providing a "front" that will attract at- 
 tention and patronage. 
 
 Stage Lighting: The impossibility of cov- 
 ering this subject in thorough detail, and so that 
 every condition which might arise in any the- 
 atre will be treated, is apparent even to the 
 
 51 
 
laj^man, but an effort will be made to handle 
 this important department with an idea of sug- 
 gesting standard practice, approved by favor- 
 able experience, and installations for the aver- 
 age well-equipped, modern vaudeville theatre. 
 
 We will consider first the switchboard which 
 controls all the lighting on, under and about 
 the stage, and that in the auditorium of the thea- 
 tre, as well as the fan and ventilating systems. 
 
 This switchboard should be of marbleized slate 
 of the "dead front" or "dead face" type, with 
 extension copper buss bar terminals run to top 
 for dimmer connections. 
 
 The "dead front" or "dead face" term means 
 that switches are mounted upon the rear of the 
 board instead of the front, and are controlled 
 by handles on the front of the board. This 
 eliminates the risk of short-circuits through 
 actors or others leaning against switchboard or 
 touching it with metal objects, etc., and pro- 
 vides against shocks and burns to individuals 
 handling or coming in contact with the board. 
 
 No switch lighter in capacity than 50 amperes 
 should be used, as the lighter weights will not 
 stand up under the gruelling service required 
 of them in a theatre. 
 
 EVERY switch should be provided with a 
 name plate showing what it controls. These 
 
 52 
 
plates should be of the "battleship" type; that 
 is, dull black plates with white letters. 
 
 The swichboard should be located at least 
 3 feet distant from the wall, permitting suffi- 
 cient working space behind it for the re-fusing 
 of circuits, repairs to switches, etc. 
 
 There should be at least one pilot light on 
 the front of the board, provided with shade so 
 arranged as to throw the light directly onto the 
 face of the board and not diffuse it into the 
 area "on stage." There should also be a pilot 
 light on the back of the board providing light 
 for re-fusing, repairs, etc. 
 
 Ample switch facilities should be provided, 
 that is, enough individual switches to afford 
 the greatest elasticity and variety of combina- 
 tions in controlling circuits, and there should 
 be at least half-a-dozen surplus switches, for 
 future uses, wired into the board. 
 
 Dimmers should be mounted above the 
 switchboard, with sheet metal cover to protect 
 them from overhead dust, etc. All operating 
 handles should come on one level, within easy 
 reach of the operator, and not more than 76 
 inches from the floor. Each handle should be 
 enameled according to the color of the lights 
 controlled, and having a name plate affixed 
 to the handle indicating the control. There 
 
 53 
 
should be a master-lever for each color, and a 
 grand master-lever controlling all stage lights. 
 House lights and fans should also be controlled 
 through dimmers, similarly arranged. 
 
 Two types of dimmers are recommended: 
 the Cutler-Hammer 120-step type interlock- 
 ing; or Ward-Leonard 125-step type. Either 
 will give satisfactory service, the latter being 
 somewhat cheaper. 
 
 There should be separate controls for each 
 floor of the auditorium, side wall brackets, beam 
 lights, etc. These lights should be governed 
 also by remote control switches, workable from 
 push-button switches in the box-office and 
 picture booth, and from some place con- 
 venient to the door-man, so that auditorium 
 lights, in an emergency, may be turned on from 
 any of these points. The control of auditorium 
 lights from the booth should be practicable, as 
 in the event of the house adopting a straight 
 picture policy the expense of having an elec- 
 trician back-stage will be saved. 
 
 Upon the face of the stage switchboard should 
 be placed the signal controls, connecting with 
 booth, orchestra and fly gallery, and at some 
 point on the board or very close thereto, the 
 opening of speaking tubes running to these 
 three locations should be placed. 
 
 54 
 
There should be a cabinet conveniently placed 
 back of the switchboard, in which an emergency 
 stock of fuses of every size used on the board, 
 tape, lugs, plugs and connectors can be kept, 
 available for instant use. In the electrical 
 storeroom a stock of porcelain insulators, mica 
 insulators, washers, binding posts, receptacles, 
 switches, wire, etc., should be kept. 
 
 The stage switchboard is the heart of the elec- 
 trical system of the theatre; it should be made 
 the subject of very careful planning and con- 
 struction. 
 
 Considering next the footlights, the length 
 of the row should be 4 to 6 feet shorter than 
 the proscenium opening. Universal semi-flush 
 type construction, conforming to the latest 
 Underwriters' specifications, is recommended. 
 These are made with a metal trough for single 
 or double row, into which the footlight proper, 
 with receptacles completely wired, is placed. 
 The trough should be painted with three coats 
 of flat white. The lamp protecting hood should 
 be of double iron, making it especially strong, 
 and should not project more than 2 J inches 
 above the floor level. Lamps should be so 
 placed that the light is equally distributed at 
 the floor line as well as to the back wall, back 
 
 66 
 
and up, and the footlight should be equipped 
 with splicing-blocks for adjustments. 
 
 In two-row footlights, the top row should be 
 devoted to white lights, the bottom row to the 
 red, blue and other colored lights. Thirty-two 
 40-watt lamps (or the equivalent of 1320 watts) 
 may be placed on one 2-wire circuit, and four 
 40-watt lamps may be placed single row to the 
 foot. All white lamps should be of the 75- or 
 100- watt nitrogen mazda type; but only 40- or 
 60-watt mazda lamps on colored circuits, as 
 the "colorine," or coloring matter, will not with- 
 stand the intense heat developed by the nitrogen 
 mazda lamps. 
 
 In the center of the footlight-trough should 
 be located an individual outlet, on a separate 
 circuit, for use in plugging in a baby-spot, or 
 any apparatus in the orchestra pit, which may 
 be needed. This should, however, work through 
 a dimmer. Sometimes this outlet is used for 
 the watchman's light at night on the stage, but 
 whether or not this use is made of it, the in- 
 stallation should be in every new equipment. 
 
 Considering next the proscenium strips — that 
 is, the two strips placed up and down on both 
 sides of the proscenium — these should be placed 
 in coves provided for them in the construction 
 of the proscenium arch, and usually running up 
 
 56 
 
about 16 feet. Practical dimensions are 6-inch 
 front, 3-inch rear, and 5-inch depth in trough 
 made of heavy galvanized iron, and wired to 
 accommodate 75-watt nitrogen mazda lamps, 
 four lamps to the linear foot. In checking plans, 
 care should be taken to see that the architect has 
 provided space in the proscenium wall wherein 
 these strips are to be placed, flush with wall and 
 set at an angle to throw light equally toward the 
 center of the stage in front of a drop "in one," 
 yet masked so that the lights themselves will not 
 be visible to persons seated in extreme end seats 
 in the front row, or in boxes. Proscenium strips 
 should work through dimmers, and be in four 
 circuits. 
 
 Border lights, usually not less than four in 
 number, should be two feet longer than the pro- 
 scenium opening. The number of borders re- 
 quired will be governed by the size of the stage, 
 but they should in any event be not more than 
 6 feet apart. The first one should be hung 
 immediately behind the working curtain to il- 
 luminate "one" from overhead, and there should 
 be one in each entrance behind "one." The 
 width of the border should be such as not to re- 
 quire over one foot of working space for low- 
 ering and raising, the trough not exceeding 10 
 inches in width. Provide four circuits in each 
 
 67 
 
border: red, blue, white and amber. The same 
 number of lamps per foot may be placed in 
 borders as in footlights and proscenium strips. 
 
 A new type of border light has come into use 
 in recent years, for the new, high-powered ni- 
 trogen lamps. These are very practicable, re- 
 sult in some economy in current consumption, 
 and so far no objection has been found to their 
 use. In general, they provide three to five fix- 
 tures for each color, on a metal batten (Ij-inch 
 iron pipe), in properly ventilated fixtures with 
 shades that throw the light down and back, and 
 with metal frames on the front in which col- 
 ored gelatine mediums are placed. Particu- 
 lars concerning this new type may be had upon 
 inquiry of any of the manufacturers special- 
 izing in theatrical installations. The 500-watt 
 nitrogen mazda lamp is the type most gen- 
 erally used in these fixtures, some using the 
 1000- watt nitrogen for the white lamps and 
 smaller ones in the colored circuits. 
 
 Border lights should be hung on messenger 
 cable, safely and securely counterweighted. 
 Their structure should be of approved type; 
 the one-time practice of having the local tin- 
 ner make them, even if the fire and building 
 authorities will pass them, is short-sighted and 
 "penny-wise." 
 
 68 
 
Bunch, spot, olivette, flood, bracket and sim- 
 ilar special lights and effects are usually worked 
 from stage-pockets and plugging-boxes. Hence, 
 there should be, at each entrance, right and left 
 of the stage, and at the rear center, a four- 
 section stage-pocket, three of the sections being 
 wired for the incandescent circuit, and one for 
 the direct, or arc-light, circuit. These should 
 be connected to work through the dimmers. 
 One double-arc pocket should be placed at each 
 side of the proscenium bridge, and there should 
 be two to four arc pockets and plugs for both 
 sides of the fly floor. It is much better to pro- 
 vide sufficient outlets at the time of construc- 
 tion than to have to resort later to make-shifts 
 in order to secure the lighting effects, which 
 spectacular acts are likely to require. Further, 
 it is well always to contemplate that the time 
 may come when it will be desired to change the 
 policy of the house, and to provide for com- 
 plete equipment when building. 
 
 Sufficient lights should be placed under the 
 fly-gallery floor, to light the stage for working 
 purposes. There should be lights placed on 
 both sides of fly floors, and aloft, above the 
 grids. In the center of the grids, a 50-ampere 
 capacity wall type stage-pocket should be placed, 
 controlled from stage switchboard through dim- 
 
 d9 
 
mer. This should have plug and cable and con- 
 nector, for chandelier or other fixture hung 
 center. 
 
 Lights should be placed at the stage door, 
 scenery-loading door, and of course the lighting 
 in under-stage corridors, dressing-rooms, stair- 
 ways, boiler, prop and other rooms should be 
 in accordance with the needs. 
 
 For smaller theatres, there should be provided 
 a sheet-iron box act announcer^ 5 feet high, 
 24 inches wide, highly ornamented, having ten 
 or more compartments with white opal glass 
 front on which announcements are painted. 
 Announcers are placed against the proscenium 
 arch each side of stage and operated by the 
 electrician or stage-manager on a keyboard, 
 through a No. 11 conductor cable. 
 
 For the better class of theatres, where pro- 
 grams are used, a monogram transparency may 
 be countersunk in the proscenium arch on each 
 side. Letters running from "A" to "O," with 
 an "X" added, are illuminated at will by the 
 electrician or stage-manager on a keyboard, 
 consisting of a slate-lined iron box with knife 
 switches and buss bar connection for No. 21 
 conductor cable. 
 
 The signal system of the theatre should in- 
 clude speaking tubes from stage to orchestra 
 
 60 
 
pit and fly-gallery. There should be a small 
 electric lamp flash-system, governed by a push 
 button on the stage switchboard, from the stage 
 to each of these points; and an inter-communi- 
 cating telephone system, preferably installed 
 in connection with the local telephone exchange, 
 with stations in box-office, manager's office, su- 
 perintendent's office, pictiu'c booth, stage and 
 such other points as may be deemed advisable. 
 With the combination of these three systems, 
 there is every reasonable assurance that each 
 part of the theatre can get into quick and de- 
 pendable communication with every other part 
 — an essential thing. 
 
 A night light, stand, lamp with guard, and 
 about twenty-five feet of stage cable, with 
 plug, should be provided for burning on stage 
 at night, being plugged either into one of the 
 stage pockets or the receptacle in the center 
 of the footlight-trough, as is most convenient. 
 
 A word- diagram of the suggested arrange- 
 ments of circuits and controls is herewith sub- 
 mitted. This may or may not fit the needs of 
 the reader's theatre, but it may offer a sugges- 
 tion or two, or keep him from overlooking some 
 essential. 
 
 81 
 
MAIN LINE TO STAGE SWITCHBOARD CONTROLLING 
 
 STAGE 
 
 Footlights j 
 
 Borders j 
 
 Pockets > Through complete interlocking dimmer 
 
 Proscenium system. 
 
 Grid Pocket J 
 
 Main Floor 
 
 Foyer 
 
 Balconies 
 
 Dome 
 
 Ceilings 
 
 Beams 
 
 Spotlights 
 
 Fans 
 
 Brackets 
 
 Exits 
 Steps and 
 Stairs 
 
 Orchestra 
 Work Lights 
 Dressing-Rooms 
 Prop, Fan, 
 Furnace and 
 Other Rooms 
 Fly-Gallery 
 Gridirons 
 Stage Door 
 Loading Door 
 Ventilation System 
 Miscellaneous, as 
 Booth, etc. 
 
 AUDITORIUM 
 
 Through complete interlocking dimmer 
 system. 
 
 } Separate control, connected ahead of 
 main switch. (See note.) 
 
 MISCELLANEOUS 
 
 Individual switch controls for these and 
 other miscellaneous lights. 
 
 MAIN LINE TO BOX-OFFICE SWITCHBOARD 
 
 CONTROLLING 
 
 PATRONS' ROOMS 
 
 Smoking Room 
 Toilets 
 
 Ladies' Room 
 Nursery 
 Cloak Room 
 
 f Individual switches on sub-main to con- 
 trol these. 
 
 62 
 
OFFICES, ETC. 
 
 Box-Office 
 Manager's 
 Superintendent's 
 Ushers' Dressing 
 Bill Room 
 Janitor's 
 Miscellaneous Rooms 
 
 . Individual switches on sub-main to con- 
 trol these. 
 
 FRONT OF HOUSE 
 
 Lobby- 
 Marquee 
 Signs 
 
 Transparencies 
 Street Lights 
 Carriage Calls 
 
 Individual switches on sub-main to con- 
 trol these. 
 
 EMERGENCY 
 
 House Lights, as 
 Auditorium 
 Balconies, Foyer, etc. 
 
 Exit and all 
 Step and Stair 
 Lights 
 
 Remote control to these. 
 
 See Note. 
 
 Note. — Exit and stair and step lights should be connected to 
 the house mains, both at stage and box-office, ahead of the 
 main switches; that is, directly on both mains, so that if fuses 
 blow either directly in switch controlling exit lights, or in either 
 switchboard, the exit lights will still receive power from the 
 other board and line. They should be heavily fused, so that under 
 ordinary circumstances they will not go out during a performance. 
 
 In many cities, ordinances require exit lights 
 to be fitted also with gas burners and burned 
 throughout performances; in any event, it is the 
 safest practice to make assurance doubly sure 
 that the exit, stair and step lights will not go 
 
 63 
 
out by providing every possible safeguard 
 against this. 
 
 The following is a suggested list of equip- 
 ment, which may be added to or taken from, as 
 the needs of the theatre require, but it will pro- 
 vide a list to check against when planning pur- 
 chases in this department: 
 
 ELECTRICAL STAGE EQUIPMENT 
 
 Bunchlights, wired for twelve 60-watt lamps, with 26 ft. No. 
 
 14 cable 4 
 
 Olivette lamps, with 1000-watt nitrogen mazda lamps and 25 
 
 ft. No. 14 cable 2 
 
 Color frames, 18x20 in. for use with above lamps 12 
 
 Gelatine mediums, 8 asstd. colors, 18 x 21 in ■. . . . 48 
 
 Spotlight, 6 in., taking 25-amp. on 125 volt, with 25 ft. 
 
 No. 14 cable 1 
 
 Spotlight, "Baby" 5 in. with 25 ft. No. 14 cable 1 
 
 L,ens box frames, 8x9 in., fit all spotlights 12 
 
 Color wheels, 5 colors, to fit either 5 in. or 6 in. lens boxes.. 2 
 Strip lights, 8 ft. galva. iron, wired for lamps 10 in. apart.. 2 
 Strip lights, 5 ft. galva. iron, wired for lamps 10 in. apart. . 2 
 
 Stage cable, Nos. 10, 14 and 18, of each 50 ft. 
 
 Electrically illuminated Fire Log, made of translucent ma- 
 terial and asbestos, reinforced with metal, hollow for in- 
 sertion of electric bulbs. Made to give a realistic effect 
 of partly burned logs, can be secured in several sizes, 
 
 built and especially suited for theatre fire places 1 
 
 Colorine, for staining lamps, in following colors: Red, Am- 
 ber, Green, Blue, Pink and Purple, of each 1 pt. 
 
 Bell, push button and battery, for effects 2 
 
 The stage electrician should always have on 
 hand for emergencies a supply of the following: 
 
 Receptacles, sockets, wire, switches, porce- 
 lain rollers, and insulators, tin cups for same, 
 mica insulators and washers, binding posts, tape, 
 fuses, lugs, plugs, connectors, etc., etc. 
 
 64 
 
Miscellaneous. Cleaner's stand, topped with 
 5-light cluster and .50-foot cable. These stands 
 may be had with one, three and five lights, the 
 latter being preferable. The base is solid and 
 the cleaners carry the apparatus about the house 
 when cleaning. Saves much current. 
 
 Musicians' stands, portable and adjustable, 
 for each musician, and a stationary stand of 
 proper height, with an additional shelf for 
 music and instrument, for the leader. Each 
 stand equipped with tin hood and lamp socket 
 held by outer shell. Entire socket enclosed in 
 tin shade, with operating key extending through 
 slot in tin hoods through which light is thrown 
 onto music. 
 
 In balcony or gallery at front rail (if spot- 
 light is not placed in booth) locate one 4-sec- 
 tion arc panel, which allows the w^orking at this 
 point of four spotlights or effect lamps. 
 
 Purchase one of the new style Long Dis- 
 tance Spotlights. This lamp is designed to 
 give a clear 3-foot spot, or a 20-foot spread at 
 100 feet. It consumes 35 amperes at 125 volts. 
 This lamp may either be set at the front rail of 
 the balcony or gallery or placed in picture 
 booth. Furnish the operator with an adequate 
 supply of lens box frames, gelatine mediums 
 
and color wheels, as listed in "Electrical Stage 
 Equipment." 
 
 Decoration 
 
 It may be considered that the design of the 
 theatre involves also the scheme of decoration 
 adopted, and the author submits a few general 
 color schemes that are known to be not only in 
 good taste and effective, but to "wear well." 
 
 Color schemes and method or working: 
 The combination of ivory, gray and old-rose, 
 properly balanced, makes a warm, cheerful in- 
 terior. Ceiling surfaces may be laid in in grays 
 with ornamental parts in glazed ivory, certain 
 panels and ornaments to be picked out in gold, 
 metal leaf or bronze, and the recessed parts in 
 old-rose. Mural decorations should be used in 
 appropriate locations, the subjects being his- 
 torical or allegorical, but in any case in har- 
 mony with the purpose of the theatre. This 
 work is done first upon muslin canvas with oil 
 paints, and then applied to the surfaces, and 
 should be executed by experienced mural 
 painters. 
 
 The modern practice of finishing walls is to 
 cover them with fabric, either silk or damask, 
 though paper may be used. Canvas may be 
 
 66 
 
laid on and painted in imitation of silk, or the 
 walls may simply be finished up in oil paints, 
 flat or glazed. 
 
 Mouldings and friezes should be painted in 
 the same tones as ceilings, but in darker tints. 
 
 Standards in the ivory, gray and old-rose 
 scheme should be bronzed and glazed with an- 
 tique finish; seats upholstered with either gray 
 or old-rose, draperies a deep old-rose or dark 
 rich red, carpets gray, exit doors bronzed and 
 antiqued. 
 
 Here follows a list of other tried (not ex- 
 perimental or theoretical) combinations: 
 
 Drab, old-ivory and gold; wall coverings, 
 painted surfaces or panels on walls in a rich 
 gold tone, friezes drab, woodwork ivory en- 
 amel, draperies moss green, standards ivory, 
 seats moss green, carpets a deeper green. 
 
 Cream, russet and gold; walls russet, wood- 
 work glazed deep russet, draperies old-blue, 
 standards deep russet, seats blue leather, car- 
 pets brown. Various tones of gold make a 
 rich-looking house; metal leaf should be in- 
 variably used, not bronze. With mural decora- 
 tions in deep colors, this scheme creates an 
 Oriental effect. 
 
 Pearl gray, royal purple and gold; walls 
 royal purple, draperies deep purple with gold 
 
 67 
 
applique, standards Circassian, seats pearl gray, 
 carpets burnt orange or dull gold. Autumn 
 tones will make a beautiful, refined interior. 
 
 Gray, old-gold and mulberry; walls old-gold, 
 draperies mulberry, standards gold, seats old- 
 gold, carpets a warm gray. 
 
 Yellow, gray and lavender; walls yellow, 
 draperies old-gold, standards same, seats gray, 
 carpets gray-green. 
 
 Cream, gray-green, white and peach; walls 
 gray-green, draperies peach, standards white 
 enamel, seats peach, carpets drab. 
 
 French gi'ay and Pompeiian red; in various 
 tones; walls Pompeiian red, draperies French 
 gray, standards same, seats red leather, carpets 
 deep green. 
 
 Brown, russet and old tapestry tints; walls 
 tapestry, draperies same, standards brown, 
 seats russet, carpets red-brown. 
 
 Ivory, tan and robin-egg-blue; walls tan, 
 draperies blue, standards ivory, seats blue, car- 
 pets brown. 
 
 Lavender, pink and white; walls pink, drap- 
 eries lavender, standards white, seats gray, car- 
 pets moss green. 
 
 Peacock color scheme; walls gold-brown, 
 draperies peacock-blue, standards black, seats 
 peacock-green, carpets gold-brown. 
 
 68 
 
Wainscotings of scagliola with walls of tapes- 
 try in the various combinations are often used 
 to good advantage. 
 
 As a general proposition the ends of economy 
 are served by doing all painting in oil, taking 
 care that walls are not "green" when painted; 
 though water-color may be used to good ad- 
 vantage on ceilings. 
 
 The cost of decorating a theatre depends 
 upon size, material used and effects desired. 
 If re-decorating an old house, photographs of 
 interiors, submitted to established decorating 
 concerns, will secure estimates of cost with sug- 
 gested schemes and effects. If a new theatre, 
 the architect and builder should be in touch with 
 the decorator before construction is started. 
 
 The asbestos curtain should be painted by 
 whatever concern decorates the theatre, so that 
 this will harmonize with the rest of the house. 
 
 Seats and Installation 
 
 Theatre chairs are a costly part of the equip- 
 ment of a theatre; therefore the kind, style, 
 size and installation should be well observed. 
 In buying theatre chairs, the following points 
 should be noted: 
 
 Standards or Castings. If these are frail or 
 badly constructed, the chair is undesirable, re- 
 
 69 
 
gardless of upholstering or appearance. In 
 considering the standards, include all iron or 
 steel parts, such as hinges, brackets, wings, ties, 
 etc. If the appropriation allows, what is known 
 in theatre chair factories as the indirect type 
 should be purchased, the price depending, if 
 cast iron, on the weight of the iron ; and if steel, 
 the gauge and amount of steel used. 
 
 A direct type casting is one in which the 
 back fits in a groove in the standard and is 
 held by a very small piece of steel, or cast iron, 
 the standard forming part of one side of the 
 hinge. Formerly this type was unknown ex- 
 cept in the cheapest gallery chairs, but since 
 theatre builders often demand show and flash 
 and do not put value first, theatre chair fac- 
 tories have adopted this construction in chairs 
 with expensive backs, seats, etc. (See Plymouth 
 and Broadhurst Theatres, New York City, for 
 examples of this type.) Any faulty details in 
 installing, uneven floors or heavy wear and 
 tear throw all the weight and strain on a com- 
 mon stove bolt 3J inches long by J inch to 
 3/16 inch diameter. The direct seat hinge 
 has a very limited adjustment for curved seat- 
 ing, which subjects it to greater strain. 
 
 The indirect type, costing from 75 cents to 
 $1.25 additional per chair, has a separate heavy 
 
 70 
 
cast iron or steel piece known as a wing which 
 bolts to the standards and fastens to the back. 
 This gives greater depth in the chair, holds the 
 back more securely and helps equalize any un- 
 evenness of floor or other unusual condition. 
 The indirect seat hinge is furnished with a sep- 
 arate piece usually called a "bracket." This 
 bracket allows plenty of freedom for adjust- 
 ment to fit almost any curve, permits free and 
 perfect operation of the hinge and takes care 
 of unevenness in floors so that this but slightly 
 affects the perfect operation of the hinge. There 
 are also semi-direct hinges on the market, some 
 of which have wings and direct hinges and some 
 no wings but indirect or bracket hinges. These 
 are inferior to the indirect. Cast iron standards 
 and heavy steel wings, brackets, seat arms and 
 hinges are (in the author's opinion) the best 
 combination. Cast iron should be in the stand- 
 ard for rigidity so there will not be a con- 
 stant working and tugging on the floor screws, 
 and steel should be used for cross strains. The 
 steel will not break under cross strain as readily 
 as cast iron. Further, the brackets held by 
 more than one bolt are much superior to those 
 held by the single bolt so often used. 
 
 The standard which the seating factory in- 
 tends to supply for the middle chairs should 
 
 71 
 
be examined, as well as the heavy artistic aisle 
 standards on the samples. A row of ten chairs 
 contains two aisle standards and nine middles 
 which are very different from the aisle stand- 
 ards and usually not seen by the purchaser 
 until the chairs are installed. 
 
 Seats, according to cost, naming the cheapest 
 first: 
 
 1. Squab or Stuffed Seat: Filled with tow, 
 
 cotton layer on top. Framed in on three 
 sides. No frame on rear. 
 
 2. Squab Spring Seat: Same as No. 1, with 5 
 
 springs or more. As springs shift during 
 use and this seat is not framed on rear, 
 insides usually slide toward rear, are put 
 out of place and in time allow springs to 
 turn up on edge. This type of seat is a 
 poor investment. 
 
 3. Box' Spring Seat: Framed on all four 
 
 sides. This is the best seat for service and 
 continuous comfort. Made with 5, 6, 7, 8 
 or 9 springs. Heavy steel strips holding 
 springs on bottom should be insisted upon. 
 
 4. Auto or Mattress Spring Seat (sometimes 
 
 called Spring Edge Seat) : No wood 
 framing of any kind. Edges are nearly 
 
 72 
 
pressed together when sat upon, allowing 
 great strain on covering material when 
 weight on springs is released. Best type 
 has twelve springs, round wire mesh frame 
 on top, to which springs are metal fas- 
 tened and steel strips holding at bottom. 
 Welt edge should be specified, for this 
 type does not stand up like box spring 
 seat. 
 
 False bottom seats which appear very thick 
 but are not entirely filled with upholstering ma- 
 terial, having a partition inside and thin pad- 
 ding on top, should be avoided. They keep 
 their shape but are inferior to plain wood seats 
 in use. 
 
 If it is intended to use plain veneer seats 
 (without upholstering) 5-ply J inch thick, 
 plain roll or full roll should be specified, o-ply 
 can be furnished 5/16 inch thick much cheaper, 
 so the distinction should be made as to thick- 
 ness. 
 
 Wood armrests range in price from 10 cents 
 to 40 cents per chair, depending on thickness of 
 wood, machine work, or hand carving. This is 
 to be considered in comparing prices. Almost 
 any style or priced armrest can be put on any 
 style or priced chair, according to the buyer's 
 
 73 
 
taste and in keeping with the balance of the 
 chair. 
 
 Of backs there are many types and prices, 
 some of which are described in upward order 
 of cost: 
 
 Plain Veneer (no upholstering) : Anything 
 less than | inch thick 5-ply (unless edges 
 are all protected by iron) should not be con- 
 sidered except where shortage of money 
 makes it necessary. Practically all shapes 
 can be had for the same price. Backs 19 
 inches high are cheaper than 20 inches. 
 Height must be taken into consideration 
 when buying. 
 
 Added Panel or Pleated Panel Backs: This is 
 a plain veneer back with separate veneer 
 panel thinly upholstered and applied against 
 face of veneer back and held in place by four 
 screws from rear. Margin of 1 inch or 2 
 inches of plain veneer back left exposed for 
 frame. 
 
 Inserted Panel Back: A veneer back, say 6- 
 ply thick, is taken and three plies cut out in 
 center. Light padding and covering is put 
 on the three plies cut out and, when uphol- 
 
 74 
 
stered, set back in place, fitting flush with 
 face of wood left for frame. 
 
 Full Upholstered Backs: A veneer back with 
 framed edges. Upholstering material is 
 placed inside of frame and the covering then 
 drawn over the entire front face of back and 
 around frame. The covering is then fastened 
 to the back with what is known as "tack and 
 gimp" or concealed or tackless fastening. In 
 "tack and gimp" fastening, the edge of the 
 material covering is simply tacked on the 
 edge of the veneer backing, and a strip of the 
 upholstering material tacked around to conceal 
 the raw edges. This method, while cheapest, 
 is unsatisfactory, as the covering very easily 
 pulls away from the tacks. Also, the gimped 
 edge tempts patrons to pick at it. The "con- 
 cealed or tackless" fastening consists in draw- 
 ing the upholstering material completely 
 around the edges of the back and fastening 
 onto the rear, an extra veneer being then 
 screwed on the rear of the back. This meth- 
 od gives better appearance and service. 
 Springs can be used with this type of back 
 for a cushion effect, adding to the cost of the 
 back, but giving very little, if any, addi- 
 tional comfort. 
 
 76 
 
Upholstering Material 
 Imitation Leather. Despite many different 
 trade names for imitation leathers, the quality 
 of the various makes is about the same. "Span- 
 ish Imitation Leather" is grained, and most 
 nearly resembles genuine leather in appearance 
 and durability, costing but a few cents more per 
 chair than other imitations. "Sateen Backing" 
 or other non-ribbed material should be speci- 
 fied for rear covering. 
 
 Velour, Tapestry, Mohair or Panne Plush. 
 These come in so many different qualities that 
 it is advisable, if any one of them is to be used, 
 to have samples submitted and passed upon by 
 an expert. These materials are named above 
 in order of wearing quality and cost, velour be- 
 ing the cheapest and least durable. 
 
 Hardware: The cost of chairs can be re- 
 duced from 5c to 50c each by the use of infe- 
 rior bolts, screws, etc. The best construction 
 is obtained by use of nickel-head bolts, where 
 wood parts are fastened to metal or other wood 
 parts. Stove bolts may be used at a lower cost 
 but cheapen the appearance of the chair, the 
 edges becoming rough very soon and catching 
 in clothing. Where screws are used, "piano 
 screws" are preferable, as the slot does not 
 rough up. Hat-wires which fasten in three 
 
 76 
 
places, namely, on each side of the bottom of 
 the seat and in the rear, are best. Some hat- 
 wires are fastened on two sides only, and in this 
 case it is easy for the person in the seat behind 
 to break them off with his feet. If number and 
 letter plates are desired, this should be specified 
 in the contract for chairs. 
 
 BolV Chairs: Very often the seats in this 
 section of the house, and in the loggias, are not 
 chosen with reference to securing maximum 
 comfort in a minimum space. 
 
 The chair that has become almost standard 
 for use in these locations is the Austrian bent- 
 wood type priced from $36 up per dozen. Here- 
 tofore the imported chair has been the most 
 satisfactory, but during the war American man- 
 ufacturers have to some extent specialized in 
 the manufacture of this type, and very satisfac- 
 tory domestic makes may now be secured. 
 
 These are available in period designs, with 
 cane, spring or upholstered seats, in practically 
 any color combination. The cost varies accord- 
 ing to finish, gold increasing the price about 
 $20 per dozen, stained finishes about $9 per 
 dozen and enamel finishes, which require three 
 well applied coats, about $24 per dozen. 
 
 77 
 
Wicker and fiber chairs, though not infre- 
 quently used, are unsatisfactory, occupying 
 more room and soon becoming rickety. Box and 
 loggia chairs are subjected to harder usage 
 than the ordinary chair, and should be purchased 
 with this in mind. 
 
 Not a little may be done in the way of 
 "dressing up" the house by choosing box chairs 
 in good taste; it is suggested that the purchaser 
 get in touch with someone who can advise him 
 as to what the possibilities are of changing the 
 design without materially increasing the cost, 
 when buying either bentwood or any other 
 standard chair. 
 
 Installation 
 
 It is most important that the chair manufac- 
 turer be responsible for the setting of the 
 chairs. The average width of seats is 18 inches 
 to 22 inches. The distance from back to back 
 is from 30 inches to 34 inches, usually gov- 
 erned by the local codes or building regulations. 
 
 The average width of aisles is 30 inches to 36 
 inches at the first row of seats, increasing Ij 
 inches every 5 feet up to and including the 
 last row, although in some cities the building 
 code permits an entire aisle being but 3 feet 
 
 78 
 
wide for its entire length. Side aisles are 
 usually 30 inches to 36 inches wide at first row, 
 increasing in width as do the center aisles. 
 These measurements are also governed by build- 
 ing codes. A theatre between 60 and 90 feet in 
 width should always have two center and two 
 side aisles laid out in what is known as left, cen- 
 ter and right sections. 
 
 The usual code governing the number of 
 chairs to a row is: 
 
 "There shall not be more than six chairs between any one 
 chair and an aisle, which means fourteen chairs are permissible 
 to a row in center bank between the two center aisles, and not 
 over seven chairs between any aisle, and the boxes (having no 
 aisle) or between an aisle and a wall." 
 
 Installing Seats 
 
 In the installation of seats on concrete floors, 
 No. 1420 :}-inch machine screws should be used, 
 two to each leg of the standard. The expansions 
 are set and fitted into holes in the cement floor, 
 drilled with a 9/16-inch drill. 
 
 The reason for using only two expansions 
 and screws instead of four in the leg of each 
 standard is that if one of the screws becomes 
 loose through drilling, weakness of cement or 
 improper installation of expansion shells, it can 
 loosen only the one other screw instead of three, 
 and permits the drilling of two entirely new 
 holes, and putting in two new expansions in 
 the opposite corners of the base of the standard. 
 
 79 
 
The cement in theatre floors for good holding 
 qualities should consist of 4 parts cement and 6 
 parts sand or two parts sand to one part ce- 
 ment. The top coating of cement floors must 
 be fully two inches of finished cement, and stand 
 at least six days before being drilled. 
 
 All seats should be fastened securely and 
 gone over two or three times with a 2-inch ex- 
 tension screw driver and brace. Inferior ex- 
 pansion shells should not be used; the best one 
 made is a "U. S." The U. S. expansion bolt 
 is much more easily extricated than other 
 makes. All arms must be screwed fast, or they 
 will promptly become loose, particularly if 
 simply secured by a rubber nail. 
 
 No w^arped backs should be permitted to slip 
 in, as a back that has already begim to warp 
 will continue its evil course; the veneer will 
 then splinter, making the management liable to 
 a possible suit for torn clothing. When bolts 
 and screws are used, no jagged ends should be 
 exposed which might tear clothes. All the 
 screws that show or come through should flush 
 clean and clear. 
 
 The installer of seats should not leave any 
 torn places in any cloth-covered seats, or any 
 tears or defects in leather-covered seats; it 
 should be understood that liquid veneer or a 
 
 80 
 
light furniture polish is only a temporary cov- 
 ering for serious scratches or deep indentations. 
 
 No manager should expect to make a 200- 
 pound patron feel comfortable in an 18-inch 
 chair, and if it is absolutely necessary to fill out 
 a row or number of rows with 18-inch or 19- 
 inch chairs, they should be, so far as possible, 
 all in the same seat numbers, although in dif- 
 ferent rows, so that the box-office man, know- 
 ing their location, may use judgment and place 
 stout patrons in wide seats, and the lean ones 
 in 18-inch and 19-inch seats. 
 
 The average theatre builder, when ordering 
 seats, does not take into consideration the con- 
 dition and architectural area of the floor. As a 
 rule, theatres have three sizes of seats, and pos- 
 sibly four. This is usually necessary to equal- 
 ize the number of seats in a row with the floor 
 measurements and the required width of aisles. 
 It is unwise, for the sake of increased capacity, 
 to place chairs behind columns or large posts, 
 as this only creates complaints at the box-office, 
 and arouses antagonistic feelings in the patron 
 who has been seated where he can see little or 
 nothing of the stage. 
 
 Numbering Seats: The modern method of 
 numbering seats to effect the seating of patrons 
 with the greatest ease and rapidity is: 
 
 81 
 
Number the left bank with odd numbers: 
 1-3-5-7-9, etc. 
 
 Number the right bank 2-4-6-8-10, etc. 
 
 Number the seats in the center bank, begin- 
 ning with center left aisle-seats, with odd num- 
 bers starting with 101-103-105-107, etc., up to 
 one-half of the number of seats in the row; 
 number the center bank beginning with center 
 right aisle-seat with even numbers, beginning 
 with 102-104-106-108, etc., up to one-half of 
 the number of seats in the row. If an odd num- 
 ber of seats should be in any row in the center 
 bank — i.e., 7, 9, 11, or 13 seats — use one more 
 of the even number plates than of the odd to 
 complete the number of all seats in the row. 
 
 Carpets and Floor Coverings 
 
 In selecting floor coverings, it is well to pay 
 as much attention to the make and durable 
 qualities of the carpet as to its attractiveness. 
 
 The author believes the most durable carpet 
 for general theatre use is the Wilton. Wiltons 
 run in various grades, and are manufactured by 
 a number of firms. The price varies from $2.50 
 to $4.90 per yard in three-quarter-yard widths, 
 depending upon the grades and colors, figured 
 goods, blues and greens costing 35c to 50c more 
 
 82 
 
per yard than other colors. Plain colored car- 
 pets are more extensively used than figured pat- 
 terns. Wiltons are made of long yarn worsted 
 in short and high pile. One of the best wearing 
 Wiltons is the Hartford Saxony, as it is made of 
 high pile and twisted yarn of finest quality ; while 
 the Rego Wilton, made by The Hardwick & 
 McGee Company, is of much shorter pile, con- 
 taining a mixture of cotton in the yarn, but 
 one of the most durable Wiltons made for the 
 money. The Rego Wilton costs about $2.00 
 less per yard than the Hartford Saxony. While 
 there are many manufacturers of Wilton Car- 
 pets, the principal ones are The Bigelow-Hart- 
 ford Company, M. J. Whittal Company and 
 Hardwick & McGee. 
 
 Axminster carpets are probably the next best 
 for general theatre use, and are made by many 
 firms; the leaders in this line of manufacture 
 are Alexander Smith and The Bigelow-Hart- 
 ford Company. Axminsters run in price from 
 $2.40 per yard to $4.2.5 per yard, in three- 
 quarter widths. The author, however, cannot 
 recommend Axminster carpet for theatre use, 
 as in the better grades of Axminster, to gain 
 durability and lasting qualities, the pile is un- 
 usually long, making it more apt to crush, hold 
 
 83 
 
dust and dirt and show foot-marks than a car- 
 pet of closer pile and tighter weave, such as 
 Wilton. 
 
 The next lower grade as to durability, is the 
 Wilton Velvet, costing from $2.45 to $2.75 per 
 yard in three-quarter-yard widths. The princi- 
 pal manufacturers of Wilton Velvet are Alexan- 
 der Smith, The Park Carpet Mills and J. & J. 
 Dobson. 
 
 Wool Velvet carpets made of short yarn can 
 be bought as low as $1.75 per yard, but are not 
 serviceable. 
 
 It is advisable to learn the manufacturers' 
 names in buying carpets and to be careful to 
 ascertain whether a certain grade of carpet is 
 yarn-dyed or printed. Printed colors are worth- 
 less for theatre use. 
 
 Cork Carpet and Linoleum are more suitable 
 for public buildings and churches than for the 
 better class theatres, since they lack attractive- 
 ness, and do not usually look clean. Cork car- 
 pet is pliable, noiseless and easy in tread; it is 
 also a non-conductor of both heat and cold, and 
 makes a worthy floor covering for the somewhat 
 smaller houses. The price per square yard varies 
 from $1.50 to $2.00 in sizes two yards wide by 
 seventy to eighty feet long. 
 
 84 
 
Battleship Linoleum, while the better quality 
 is as thick as cork carpet, is much firmer and 
 lacks the flexibility and softness of cork carpet. 
 This comes in three colors : brown, green and tan, 
 and the prices average from $1.75 to $2.50 per 
 square yard. 
 
 Carpet Linings: Architects, builders, owners 
 and managers sometimes overlook a big factor 
 when ordering and laying carpet — lining. 
 
 Lining costs from 6 to 18 cents per yard, and 
 it is far better to use a double layer at 12 or 18 
 cents than to economize with a single layer at 
 8 cents per yard. The best lining, laid in double 
 thickness, adds a whole year to the life of a 
 carpet. 
 
 Laying Carpets on Cement Floors: The two 
 most practical methods for laying carpets se- 
 curely are : Drill holes in cement floor just large 
 enough to take brass sockets tightly, into which 
 are driven through the carpet 1^-inch steel pins. 
 The same socket method, using 1^-inch steel pins 
 sewed to the under side of carpet, may be used. 
 The latter method is less satisfactory if the car- 
 pet is taken up to be cleaned, as pins thus at- 
 tached to the carpet are greatly in the way. 
 
 In case the carpet man fails to secure sockets 
 and carpet pins in time, the seat man can drill 
 
 86 
 
holes with a J -inch drill in the aisles one 
 foot apart on a line laid out by the carpet man. 
 Any lumber mill will turn out the necessary 
 number of g-inch wood dowels, 1^ inches 
 long, and the carpet man can drive them in 
 the holes. The carpet then can be laid by using 
 r2-ounce tacks to be tacked in head of wood 
 dowels. The mill will charge about one or one 
 and a quarter cents apiece for the wood dow- 
 els. 
 
 Both methods of fastening carpets to cement 
 floors may be dispensed with if, at the time of 
 construction, where carpet is to be laid, 2-inch 
 furring strips J inch thick, are sunk in the 
 cement level with the surface. Where the strips 
 are laid in the cement, a 10-ounce carpet tack 
 will hold the carpet. If the seating plan is 
 correctly laid out, so that aisles are not changed 
 in location or width after the cement floor is 
 laid, the strip arrangement can be used in the 
 aisles as well as around the edge of all base 
 boards or in front of all doors at floor level. 
 
 Carpet is not being laid in many theatres 
 between seats, except one-half width, which is 
 13^ inches, and in most of the new theatres 
 having cement floors no carpets are laid be- 
 tween any seats. Carpet should be laid the full 
 width of aisles. 
 
 86 
 
The exposed cement floors should be painted 
 with two coats of best quality brown or dark 
 red cement paint, thus affording a clean, san- 
 itary floor, and preventing the accumulation of 
 dust and dirt. 
 
 The life and beauty of carpets may be con- 
 served best by intelligent use of a first-class 
 vacuum cleaner, one powerful enough really to 
 remove dust and dirt. 
 
 Draperies and Hangings 
 
 The draperies and hangings of a theatre con- 
 tribute touches of pictorial embellishment, and, 
 if worked out in careful harmony with the 
 general color scheme, and in subdued richness 
 and tasteful combinations, add greatly to the 
 increasingly important feature of every play- 
 house's decoration. 
 
 The price of Silk Damask and Silk Velours 
 has so risen, owing to the cost of raw ma- 
 terials, colors, etc., that they have become al- 
 most prohibitive for theatre use, except in the 
 very high-class theatres. 
 
 As substitutes. Cotton Velvets, Amures and 
 Tapestries are being used more extensively. 
 The various drapery and hanging materials are 
 
 87 
 
here enumerated in the order in which they are 
 most widely used : 
 
 Cotton Velvet or Velour is available in twelve 
 to fourteen different colors, 50 inches wide, at 
 prices ranging from $1.G5 to $3.50 per yard, ac- 
 cording to the quality. The five most attractive 
 and generally used colors are: Mulberry, royal 
 purple, gun-powder blue, mahogany and Du 
 Barry rose. This grade of material is suitable 
 for almost any part of the theatre, from the act 
 or house curtain to the drapery or covering of 
 exposed fire-hose reels. When used for portieres, 
 it should be lined with sateen, as nearly as pos- 
 sible the same color, and when used for the house 
 curtain, should be lined with heavy denim. 
 
 The next most popular drapery is A mures, 
 which makes good-looking hangings for almost 
 any part of the theatre. It is double faced, 50 
 inches wide and can be secured in six to eight dif- 
 ferent shades, ranging in price from $1.25 to 
 $2.50 per yard. Mercerized A mures average in 
 price from $2.50 to $3.25 per yard. 
 
 Poplin comes in twelve different shades, is 50 
 inches wide, and averages in price from $1.25 to 
 $1.75 per yard. 
 
 88 
 
Rep comes 50 inches wide, ten to twelve dif- 
 ferent shades and ranges in price from 90c to 
 $1.25 per j^'ard. Both Poplin and Rep lack 
 lustre and richness, and therefore are not gen- 
 erally used for theatre draperies. 
 
 Silk Velours are usually of heavier weight and 
 richer lustre than Cotton Velours. This mate- 
 rial comes in the same number of shades, and in 
 the same width as the cotton goods, and ranges 
 in price from $4.50 to $7.00 per yard. 
 
 Cotton Damask comes 50 inches wide, in ten 
 to twelve different shades, and ranges in price 
 from $1.60 to $4.00 per yard. 
 
 Silk Damask comes in the same number of 
 shades and widths, and ranges in price from $3.00 
 to $9.00 per yard. 
 
 Cretonnes, domestic and imported, 30 inches 
 to 36 inches wide, range in price from 25c to 
 $1.25. The same goods 50 inches wide, from 90c 
 to $3.00 per yard. 
 
 Wool or Mercerized Tapestries, 50 inches 
 wide, often used for wall decorations, range from 
 $1.50 to $9.00 per yard. 
 
 89 
 
Cotton Tapestries, 32 inches to 50 inches wide, 
 average in price from $1.45 to $4.00 per yard. 
 This particular goods is used extensively for at- 
 tractive coverings and hangings for lounging and 
 retiring rooms. 
 
 Satin Brocades run in extra heavy weights, 50 
 inches wide, and run from $5.50 to $8.00 per 
 yard; they are seldom used for theatre decora- 
 tions. 
 
 Draperies for Inside of Foyer Doors on 
 
 Glass 
 
 Plain Net (Ecru), % yd. wide, 60c to $1.25 per 
 
 yd. 
 
 Irish Point Lace (Ecru), ^ yd. wide, $1.25 to 
 $4.75 per yd. 
 
 Plain Chinese Silk (7 colors), 31 inches wide, 
 75c to $1.00 per yd. 
 
 Figured Silk (7 colors), 31 inches wide, $2.50 
 to $4.50 per yd. 
 
 Mahogany, crimson, dark red and golden- 
 brown make attractive colors for this work. 
 
 Valenciennes draperies are made plain, 
 trimmed with a braid of lighter or darker shade. 
 
 90 
 
Draped or pleated Valenciennes and heavy silk 
 galoons are not extensively used. 
 
 Fixtures for Hanging Draperies and 
 Curtains 
 
 FiiVtures: Where it is necessary to place poles 
 at orchestra pit, box doors, entrances to boxes 
 and exit doors, and it is desired to conceal rings 
 or poles, to any size tubing may be attached the 
 "Easy Attachable Flat Track." The fewer 
 poles and rings shown, the more attractive the 
 draperies and hangings will appear. The day 
 of a large display of polished brass poles and 
 rings is fast passing. This track as well as all 
 kinds of gimp tacks, curtain holders, bracket 
 rings, escutcheon pins, curtain-pole sockets, 
 brass rods, metal stair-plates, grommets, cur- 
 tain weight-braid, etc., are seldom stocked by 
 local dealers, but upon inquiry of the large 
 drapery-fixture supply houses they may be se- 
 cured. 
 
 91 
 
CHAPTER II 
 
 EQUIPMENT AND OPERATION 
 
 THE author urges the reader, particularly 
 if a new theatre is being opened, or one 
 that has been closed for some time is be- 
 ing re-opened, to give careful attention to this 
 chapter. Too often, in the multitude of details 
 connected with the opening of a house, things 
 of vital importance are overlooked, and it is 
 rarely the case that a theatre is opened com- 
 pletely equipped. 
 
 The subject of equipment will be treated pro- 
 gressively — that is, by departments — starting at 
 the front of the theatre and finishing at the stage 
 door. It is, of course, in keeping with practice 
 and experience to recommend the use of stand- 
 ard articles, as in the long run they are material- 
 ly cheaper than inferior products. It is pertinent 
 to observe, in this connection, that it takes a pe- 
 culiar and particular knowledge of the require- 
 ments of a theatre to enable a manufacturer to 
 
 92 
 
build articles or equipment especially suited to 
 its needs. For instance, it is reasonable to sup- 
 pose that a stage brace, manufactured by a firm 
 with years of experience as makers of stage hard- 
 ware, will be more desirable than one assembled 
 by a firm with little or no knowledge of the 
 strains a brace should be fitted to withstand, its 
 practical uses, etc. 
 
 Therefore, the recommendations made in this 
 article have in view solely the best results ob- 
 tainable with minimum expenditure, on the sea- 
 son's or a longer term of operation, and are 
 based upon an accurate knowledge of the ex- 
 periences of many managers in many theatres. 
 
 Considering the theatre, therefore, from the 
 standpoint of equipment required for its va- 
 rious departments in the order suggested, we 
 come first to the 
 
 Lobby 
 
 As the "front yard" of the theatre, an in- 
 dex to the condition one may expect to en- 
 counter within the house, its equipment should 
 be carefully chosen, complete and in harmony 
 with the surroundings. 
 
 Photograph and other display frames, con- 
 cerning which somewhat has been said under 
 
 93 
 
the heading of "Lobby Display" in this hook, 
 should be selected only after a careful study 
 of the catalogues of the principal frame mak- 
 ers, who through years of experience have elim- 
 inated the impractical, have corrected faulty 
 construction, and have learned what will and 
 what will not work out to the best ultimate ad- 
 vantage. In accordance with the size of the 
 lobby and the display possibilities of the front, 
 suitable frames should be ordered from one 
 maker in a single lot. This will assure a har- 
 monious equipment, and not a heterogeneous 
 collection of odds and ends in varied finishes 
 and shapes of moulding. 
 
 If the lobby is now equipped with an as- 
 sorted, illy-matched lot of frames, no better in- 
 vestment can be made than to re-equip it with 
 suitable and harmonious ones, bearing in mind, 
 of course, that unless the surroundings are in 
 keeping, the new frames are quite likely by con- 
 trast to emphasize the need for attention to the 
 general condition of the lobby. 
 
 The advisability may be suggested of secur- 
 ing frames for hotel-lobby and about-town lo- 
 cations from the same maker and in a gen- 
 erally uniform pattern, as this serves to identify 
 them with one particular theatre. 
 
 If a photograph or detailed plan of front and 
 
 94. 
 
lobby is sent to any of the well-established con- 
 cerns making a specialty of theatrical frames, 
 they will submit, free of cost, designs for frames 
 and arrangements thereof, which will be of the 
 greatest effectiveness for display purposes. 
 
 Rubber, leather, steel or cocoa-matting should 
 invariably be laid hi the lobby during rainy, 
 muddy and inclement weather, from the door 
 to the entrances. This will save carpet, for the 
 patron generally gets the soles of his shoes 
 fairly dry and free from mud before reaching 
 the carpeted floors. As to what type of mats 
 to use, the reader will be guided by his own 
 judgment. The writer's recommendation is: 
 first, the leather mat; second, the rubber; third, 
 the steel, and last, the cocoa-matting. The first, 
 while somewhat more expensive, is practically 
 everlasting; it rolls and handles easily, gives 
 the walker a very firm footing, and is being 
 used in the better theatres almost exclusively. 
 The rubber mat or strip, next in preference, is 
 equally good except as to durability; the steel 
 mat is noisy, trips patrons and scrapes mud off 
 the feet without drying them — it looks cheap, 
 but isn't; the cocoa-matting is cheap, looks it, 
 soaks up water, becomes soggy, is hard to dry 
 out, and does not wear well. 
 
 96 
 
Another important item of the equipment in 
 a lohby is the receptacle provided in which pa- 
 trons are to throw cigar and cigarette butts, ex- 
 pectorate, etc. There is the conventional brass 
 cuspidor, often unpolished and badly dented. 
 Overloaded and overturned now and then, its 
 filthy contents likely to soil the skirt of some 
 woman passing, it has already been consigned 
 to limbo by the more progressive theatres. In 
 its place are found terra cotta or pottery um- 
 brella stands, about one-fifth filled with sand, 
 and conveniently placed about the lobby. 
 
 A brass railing should, by all means, be used 
 to regulate traffic at the box-office window. 
 This should not be made of too light a tubing, 
 or inseciu'ely set in the floor. It is the custom 
 of patrons to lean heavily against it; of chil- 
 dren to use it in acrobatic endeavors while their 
 parents are purchasing tickets, etc., and it should 
 be strong enough and firm enough to withstand 
 such usage. It should be long enough to guide 
 traffic past the window single-file, and suffi- 
 ciently close to the counter so that two or more 
 cannot crowd up to the window at the same 
 time. 
 
 The outside of the box-office should have one 
 or more frames containing cards displaying 
 schedule of performances, prices of admission to 
 
 96 
 
various sections, and stating the time up to 
 which reservations will he held for various per- 
 formances. Though it is customary to display 
 this outside the hox-office, it may also be dis- 
 played in other parts of the lobby, where every 
 patron enroute to the box-office will be likely 
 to see it. 
 
 The ticket-box for the door-man should be, in 
 design and finish, harmonious with the other fur- 
 nishings. It should be provided with a secure 
 lock, to which the manager only should have a 
 key. Various styles and types of such boxes are 
 listed by the important frame and supply houses. 
 As this box and its handling are an important 
 safeguard against dishonest practices upon the 
 part of the door-man and others, the need of se- 
 cure locking is emphasized. 
 
 Each entrance to the theatre proper, that is, 
 doors and openings from lobby into foyer, 
 should be equipped with a velvet-covered Ij- 
 inch rope, fitted with brass rings or hooks at 
 each end, to bar openings not to be used. 
 
 Box-Office 
 
 The box-office should be thoroughly equipped 
 with the latest approved devices for handling 
 
 97 
 
not only the sale of tickets and the making of 
 change, hut as well the accounting, checking 
 and storing of tickets, supplies, etc. 
 
 For the proper handling of money, an ample 
 money drawer with good lock, an approved 
 change machine, and a dependable safe should 
 be provided. Also, for the handling of coupon- 
 tickets, racks built with slots representing each 
 reserved seat in the theatre; cabinet racks that 
 will store, so they are quickly accessible, tickets 
 for each performance two weeks ahead; reserva- 
 tion cabinets alphabetically arranged, of which 
 four to six will generally meet requirements; 
 conveniently placed spool-holders for reel-tick- 
 ets. Ample storage space, protected by good 
 locks, for stock of tickets, report forms, ticket 
 envelopes, etc. 
 
 There should be an inter-communicating tele- 
 phone system, and a convenient arrangement 
 of telephones so that orders coming in may have 
 prompt attention. 
 
 Waste baskets, sponge cup and sponge, 
 shears, library paste, rubber bands and the usual 
 paraphernalia of an office should be provided, 
 together with statement of report forms, car- 
 bon paper, etc. 
 
 98 
 
Foyer 
 
 Just inside the foyer door, or close to the 
 ticket-taker, there should be a good-looking 
 waste basket or other receptacle for the en- 
 velopes from which tickets are taken. 
 
 A carpet-cover of 12-oimce waterproof canvas 
 should be provided, of sufficient size to protect 
 the carpets in muddy weather. This should be 
 long enough to reach from the foyer entrance to 
 the heads of aisles on the main floor, and to the 
 balcony stairs on each side, if these are located 
 inside foyer. 
 
 If the foyer is spacious, furniture, hangings, 
 pictures, etc., of appropriate style should be pro- 
 vided. Drinking fountains, dispensing pure 
 iced water, should be placed in the foyer. Mod- 
 ern practice demands that these be of the san- 
 itary type, and most well-managed theatres 
 provide the individual paper cups for the pa- 
 tron's use. 
 
 Auditorium 
 
 In the main, equipment for the auditorium 
 consists of the carpets, seats, lighting fixtures, 
 etc., and these are of such importance that they 
 are treated under separate headings. 
 
 99 
 
There are the items of fire extinguishers, 
 which should be of the type approved by the 
 Underwriters' Laboratories; of fire-hose hnes, 
 which should bear the same approval, all of 
 which should be placed on each floor in ac- 
 cessible locations. These are treated under the 
 heading of "Fire and Panics." 
 
 Brass Railings. There is no question as to 
 the beauty, richness and taste of the brass rail- 
 ing IF IT IS KEPT POLISHED, but keeping it pol- 
 ished involves diligent daily attention, which it is 
 sometimes difficult to secure from the average 
 cleaner. Where brass railings are used, as 
 around boxes, stair rails, etc., it is advisable to 
 use the plain, heavy-weight designs, avoiding 
 elaborate decorative effects in railings, standards 
 and brackets. It is often found desirable to use 
 Ij-inch wrought-iron pipe, painted with stand- 
 ard iron pipe paint, wrapped with muslin and 
 then covered with cotton velvet or silk velour of 
 a color to match the hangings. 
 
 In some theatres a part of the main or bal- 
 cony floor only is reserved, the balance of the 
 floor being "general admission;" in such cases, 
 provide signs so placed that patrons entitled to 
 sit in the unreserved section will not seat them- 
 selves in the reserved seats. A very suitable 
 
 100 
 
means of doing this is to use a 2-inch hrass 
 standard, rising 6 inches higher than the back 
 of the chairs, with a brass plate 3 inches by 8 
 inches on top, bearing the inscription "RE- 
 SERVED SEAT SECTION" neatly lettered 
 in black. The bottom of the standard should 
 fit snugly in a socket in the floor, and if it is 
 desired to move the reserved seat section back- 
 ward or forward two or three rows on holidays, 
 etc., the sockets to receive the standard may be 
 placed accordingly. This type of standard is of 
 material assistance to the ushers in seating pa- 
 trons in the proper section. 
 
 Bronze railings and those made of other 
 metals intended as a substitute for brass and to 
 look rich while eliminating the need for daily 
 polishing, have never proved acceptable. In 
 fact, the only acceptable substitute, in the 
 writer's experience, is a velvet-covered iron 
 pipe, which under ordinary conditions must be 
 re-covered each season. 
 
 Manager's Office 
 
 There should be the usual equipment of office 
 furniture: typewriter, filing cabinet, stationery, 
 etc. 
 
 101 
 
The telephone system (preferably of the in- 
 ter-communicating type installed by the local 
 exchange, rather than an independent system 
 which in practice is out of order most of the 
 time) should have stations in the manager's 
 office, box-office, picture booth and on the stage. 
 
 Ladies' Room 
 
 Ample mirrored surfaces or mirror equip- 
 ment; brush and comb, hairpins, plain and safe- 
 ty pins, a small stock of hatpins, a hand mir- 
 ror and a box of talcum are necessities; and if 
 there is a maid in charge, she should have on 
 hand a bottle each of smelling salts, aromatic 
 spii'its of ammonia and Jamaica ginger, as well 
 as a limited stock of sanitary napkins and a 
 small flask of brandy. These latter items are 
 for use in instances of fainting, illness, etc., and 
 should all be contained in an emergency cab- 
 inet. 
 
 It has been found necessary to provide a 
 special dressing-table, with a large mirror, for 
 patrons to use when combing hair; if hair is 
 combed over the wash-stands, plumbing trouble 
 ensues. The maid should be instructed to for- 
 bid this practice, or a neatly lettered sign to 
 that effect should be hung in the room. 
 
 102 
 
Glass-tubed, nickeled automatic venders can 
 be secured for dispensing sanitary napkins, 
 which require deposit of a nickel, cost price of 
 the napkin, before releasing the article; there 
 should also be a nickel-plated or white-enameled 
 covered container for used napkins. 
 
 A small, completely equipped First Aid Cab- 
 inet should be provided, with sufficient stock of 
 bandages, absorbent cotton, lint, etc. 
 
 The furnishings, consisting of chairs, dressing- 
 tables, lounge, settee, etc., and other appoint- 
 ments such as carpets, rugs and pictures, should 
 be feminine in tone; light and airy rather than 
 heavy and sombre. 
 
 The elaborateness with which furnished and 
 equipped, the matter of providing a maid, and 
 the importance attached to a suitable retiring- 
 room for women patrons, deserve careful con- 
 sideration. This is part of the "service" which 
 the theatre renders, and should be properly 
 done. If there is suitable space, a public tele- 
 phone booth with suppressed buzzer or bell 
 should be installed. 
 
 Gentlemen's Room 
 
 Another department of the theatre which, 
 though not directly a revenue producer, never- 
 
 103 
 
theless, if installed at all, merits proper main- 
 tenance and equipment. In a vaudeville theatre, 
 where intermissions are not the rule, this room 
 will probably not be nmch used, except in con- 
 nection with its toilet facilities, but the expense 
 of equipping it as a very small and intimate club 
 might be equipped has in general experience 
 been found well justified. Cuspidors, ash trays 
 and an electric, gas, or similar cigar-lighter, with 
 a few comfortable chairs and a substantial table, 
 a durable, dark-toned rug and a few suitable 
 pictures will generally suffice as to furnishings. 
 Of course, this list may be elaborated, or reduced, 
 depending upon conditions ; but it is recommend- 
 ed that the subject be not dismissed from con- 
 sideration without a thorough study of its im- 
 portance. 
 
 It is well to install a public telephone booth 
 with suppressed buzzer or bell in this room. 
 
 Toilets 
 
 Aside from suitable urinal (standing type) 
 and seat facilities, the different types of which 
 need not be discussed in this article, there are 
 but three main important items in connection 
 with the equipment of toilets, i.e., toilet paper, 
 soap and towels. 
 
 104 
 
There are several patented toilet paper hold- 
 ers, designed to dispense the paper economically 
 and conveniently. Some of these are good, some 
 not so good; the writer suggests as the prefer- 
 able equipment in this particular, the Spring- 
 field holder and paper, the suggestion being 
 based upon long and favorable experience with 
 this type. 
 
 Comparing the bar of soap, liquid dispenser 
 and apparatus which shaves a dry powder from 
 a bar enclosed in the holder, the last named type 
 has proved unfailingly satisfactory and econom- 
 ical. 
 
 The towel equipment, considering loose hand- 
 towels, the individual hand-towel fastened on a 
 nickeled rod and as used, falling into a boxed 
 receptacle, the roller-towel (dirty, unsanitary 
 and forbidden by law in many states,) and the 
 patented paper-towel and receptacle, the last 
 is efficient and economical. 
 
 There is also a new type of towel-holder 
 which provides a clean surface of roller-towel to 
 each user, the used or soiled portion pulling into 
 the container. This is known as the "Pullclean 
 Towel Cabinet," and is a practical, economical 
 equipment. 
 
 106 
 
Ushers' Room 
 
 The dressing-room provided should be 
 equipped with ample hanger space, and hangers 
 for uniforms when not in use. It should also l)e 
 equipped with lavatory, mirror, brushes and 
 combs, shoe brushes, whisk brooms and the 
 items incidental to keeping clothing, etc., in 
 neat condition. As ushers are required to be 
 "spick and span" in appearance in the theatre, 
 the facilities with which to accomplish this 
 sliould be provided in the dressing-room. 
 
 This room should be frequently inspected by 
 the superintendent or manager; order and neat- 
 ness should be insisted upon. 
 
 In many theatres, metal lockers, with locks, 
 are provided for the ushers in which to keep 
 their street clothes while on duty in uniform. 
 The plan is good; it obviates arguments when 
 personal effects of ushers are missing — and 
 tends to make each usher directly responsible 
 for properly caring for his uniform. The prac- 
 tice in such instances is to require the usher to 
 deposit the key to the locker with the superin- 
 tendent when leaving the theatre, and secure 
 it from him or his office when reporting for 
 duty. This provides a check upon the coming 
 and going, promptness, etc., of the usher. 
 
 106 
 
Porters' and Cleaners' Rooms 
 
 Here should be provided ample shelf room 
 for the storage of buckets, mops, brooms, sup- 
 plies, etc. The supplies should be kept in a 
 locked cabinet, by the head porter or janitor, 
 who should be responsible for the issuance and 
 economical use thereof. 
 
 Holders for brooms and mops, hangers for 
 brushes, etc., should be provided, and it will be 
 found that economy in the use of these articles 
 will follow a rigid policy of requiring them to 
 be kept in their proper places when not in use. 
 
 Here follows a list of cleaners', porters' and 
 janitors' utensils: 
 
 UTENSILS 
 
 ABTICLE 
 
 Pails, galvanized iron, standard weight. 
 
 Pails, pine mop, heavy arm. 
 
 "Wundermop," complete with handles and 
 
 clamps. 
 Mops, "Wundermop." 
 Wringers, standard metal lever or press. 
 Brushes, scrub. 
 Brushes, scrub, triangular. 
 Brushes, scrub, radiator. 
 Brushes, sanitary, sink and cuspidor. 
 Brushes, water closet. 
 Brushes, ceiling, 12" block. 
 Brushes, floor, 14" block, Tipperary, mule 
 
 hair. 
 Brushes, floor, 30" block, Tipperary, mule 
 
 hair. 
 Brooms, corn. 
 
 Brooms, whisk, "Reliance," small. 
 Brooms, whisk, "Reliance," large. 
 
 QUANT. SIZE 
 
 4 
 4 
 4 
 
 12-quart 
 14-quart 
 standard 
 
 12 
 
 standard 
 
 4 
 
 No. 1- 
 
 6 
 
 Essex 
 
 8 
 
 3 
 2 
 
 Ajax 
 
 Dayton 
 
 Beekman 
 
 2 
 
 Essex 
 
 2 
 
 Carlton 
 
 2 
 
 No.C-2 
 
 2 
 
 No. C-7 
 
 12 
 
 No. 8 
 
 3 
 
 No. 
 
 3 
 
 No. 3 
 
 107 
 
1 
 
 6 
 
 6 
 
 12 
 
 1 
 
 12 
 1 
 2 
 4 
 2 
 4 
 3 
 
 No. C-12 
 
 X-large 
 
 standard 
 
 20-inch 
 
 Municipal 
 
 standard 
 
 lot-assorted 
 
 pair, assorted 
 lb., assorted 
 24 X 27" 
 24 X 36" 
 3-bushel 
 standard 
 standard 
 
 assorted 
 
 standard 
 assorted 
 
 25-foot 
 No. 
 standard 
 48-inch 
 assorted 
 
 assorted 
 
 Brushes, dust, hand. 
 
 Sweepers, carpet, Bissell, "Club." 
 
 Cleaner, vacuum, Bissell. 
 
 Dusters, feather, "Army and Navy," 200-taiL 
 
 Brushes, dustless. 
 
 Cloths, dustless, "Black Cat." 
 
 Cloths, linen and cotton rags (from laundry 
 
 and ragman). 
 Cloths, scrub, Union Mills. 
 Sponges, large. 
 Chamois. 
 
 Bags, waste paper, canvas, "Hudson." 
 Baskets, oblong, laundry. 
 Dustpans, steel-edge, extra strong. 
 Dustpans, galv. iron, swinging, with handles, 
 
 "Waldorf." 
 Shovels, No. 2D Handle, No. 8 Coal Scoop, 
 
 steel snow. 
 Ice Chopper, or sidewalk cleaner. 
 Step ladders, hardwood, 8' 8" and 12', strong 
 
 and light. 
 Ladder, extension. 
 Auger, water-closet, Wrigley. 
 Plunger or force-pump, long handle. 
 Truck, hand. 
 Lot of screws, nails, wire, hooks, screw-eyes, 
 
 etc., for use in making minor repairs about 
 
 theatre. 
 Lot of tools, hammers, large and small; 
 
 screw-drivers, saws, braces and assorted 
 
 bitts, plane, chisels, square, yardstick, etc. 
 
 Note. — The necessary portion of the above utensils should be 
 turned over to the stage-manager, for exclusive use on stage, 
 avoiding joint use by stage employees and house-cleaning staflF of 
 these articles. 
 
 Cleaning Materials 
 
 All-in-One . This fluid is a combined cleanser, 
 antiseptic, germicide and refinisher; will 
 clean thoroughly the surface and polish as 
 
 108 
 
well tile, cork, wood or linoleum floors, 
 walls, woodwork and glass. 
 
 Dustol — 10. Also Dustdown — Dusthane. Are 
 modern hygienic sweeping compounds; san- 
 itary, absorb dust. 
 
 Marble and Tile Cleaners. There are many 
 kinds and brands, i. e., Wyandotte Deter- 
 gent, Perfection, Old Dutch. Swift's, Gib- 
 son's, Marblica, Presto, etc., etc. 
 
 Soap Powders. There are makes and names in 
 abundance, all claiming to be the best., i. e. 
 Hanover, Swift's, Gold Dust, Pearline, 1776, 
 Soapine, Washoline, etc., etc. 
 
 Metal Polishes. Liquid and paste; the names 
 of brands are almost unlimited. Brilliant, 
 Elk, Blue Ribbon, Bartenders' Friend, Sun- 
 set and Putz Pomade are but a few of the 
 better known. 
 
 Floor and Furniture Polish. In this material 
 it pays alwaj^s to get the best; an oil that 
 will not gum or stick and one that will rub 
 down to a quick and clean polish. A few of 
 the many are O-Cedar Oil, Alpine, All-In- 
 One, Liquid Veneer, etc., etc. 
 
 109 
 
There are numberless different brands and 
 kinds of cleaners' materials, made of an end- 
 less variety of ingredients; no attempt is made 
 to list them all, but rather a few known to the 
 author as being thoroughly well adapted to and 
 economical for the purposes intended. 
 
 An efficient cleaner may get fairly good re- 
 sults from medium-quality cleaning materials, 
 while the best cleaning material in the hands of 
 an imintelligent workman may show poor re- 
 sults. All porters and cleaners should be in- 
 structed to follow the directions exactly as giv- 
 en, in the mixing, diluting and using of all 
 cleaning materials, and should not endeavor to 
 improve on these directions by using a little 
 more or a little less than the instructions call 
 for. 
 
 Cleaners should thoroughly wash all surfaces 
 with plain water after using any soft soap, pow- 
 der or acid cleaning preparation on marble or tile 
 floors. 
 
 In scrubbing or mopping floors with water 
 containing cleaning materials such as strong 
 soap, lye, etc., care should be taken that this 
 mixture does not come in contact with painted 
 wood baseboard. 
 
 110 
 
Check-Room 
 
 If a check-room is to be operated, and in 
 most modern theatres it is considered an es- 
 sential part of the service rendered to patrons, 
 it should be properly operated, and this involves 
 the employment of a cheerful, neatly dressed, 
 willing and courteous attendant;, alert and deft 
 in handling the articles entrusted to him. 
 
 The department is important enough to war- 
 rant a special employee, not one from another 
 department "doubling" in the check-room. 
 
 This room should be open and the attendant 
 on duty from the time the doors are open until 
 the last patron has left the house after the 
 show, and the final duty of this employee before 
 closing check-room should be to see that there 
 are no outstanding checks, or that, if there are 
 such, the articles covered by them are in the 
 check-room. 
 
 It should be the invariable rule that no tips 
 are to be accepted in this department; the ser- 
 vice should be rendered gratis, and it should be 
 seen to that the attendant does not "hint" di- 
 rectly or indirectly that gratuities would be ac- 
 ceptable. 
 
 Coats, capes and wraps should be hung on 
 hangers, not slung carelessly on hooks; un>- 
 
 111 
 
brellas should be placed in stands, not stacked 
 on shelves or in corners, and it should be made 
 the attendant's duty to see that the supply of 
 checks is maintained. 
 
 The superintendent or manager should in- 
 spect this department and its attendant regu- 
 larly, and see that a prompt and efficient in- 
 coming and outgoing service is maintained. As 
 patrons are leaving it is usually practicable to 
 assign an usher to assist them in putting on 
 overcoats, etc. 
 
 At some theatres the check-room is provided 
 with a stock of umbrellas, fifty to a hundred or 
 more, for the use of patrons who may be in the 
 theatre when it starts raining, and who need an 
 umbrella when leaving. Uj^on deposit of $1, 
 they are given an umbrella, which is to be re- 
 turned within three daj^s, when the dollar is 
 refunded. Usually this feature of the work is 
 under the treasurer's direction as to accounting 
 for the umbrellas — and at monthly inventories 
 he is held responsible for having either the 
 original number of umbrellas or $1 for each 
 one missing. Some theatres handle this feature 
 of their service through the box-oflSce entirely. 
 
 A check-room will pay for itself within a 
 very short time, in the saving effected by pa- 
 trons checking wet, muddy garments, umbrellas, 
 
 112 
 
overshoes, etc., which would otherwise damage 
 seats and carpets. It is a not unimportant part 
 of the service of the theatre, and should be so 
 conducted as to make it a pleasure for patrons 
 to utilize its facilities. 
 
 Nursery 
 
 If the theatre provides a nursery, and in mod- 
 ern practice this is usually considered essential 
 even if not used extensively, it will create fa- 
 vorable comment as to the service of the house. 
 It should be borne in mind that the little ones 
 who will be taken care of in this department 
 for an hour or two during the show must be 
 kept quiet. 
 
 Therefore, a pile of clean, white sand, in a 
 box about 6 feet by 6 feet, with sides about 8 
 inches high; an assortment of substantial toys, 
 such as hobby-horses and similar rocking toys; 
 two cribs with bedding; small rocking-chairs and 
 lettered and numbered building blocks, should 
 be provided. 
 
 The equipment should also include a small 
 toilet seat, which can be used on the adult seat, 
 unless, of course, the child's-size toilet is pro- 
 vided. 
 
 113 
 
Bill-Room 
 
 This room, used by the bill-poster, lobby- 
 decorator, etc., should be equipped with a large, 
 substantial table, which can be used for cutting 
 matt board on, etc.; liberal shelf room, and 
 should be well lighted. It is not advisable to 
 endeavor to equip it with the tools which may 
 be required, for the reason that individual work- 
 men have their preferences as to these and 
 usually furnish them themselves. 
 
 Moving-Picture Booth 
 
 As there are a number of standard moving- 
 picture projection machines, each with special 
 claims for preference, and the theatre will be 
 solicited by the representatives of each, no at- 
 tempt will be made in this article to discuss the 
 relative merits of such apparatus. It is urg- 
 ently recommended, however, that only a stand- 
 ard equipment be installed, under supervision 
 of the factory experts whom the makers of the 
 apparatus will send for the purpose; or in con- 
 sultation with experienced projection special- 
 ists, whose services will be at the theatre's com- 
 mand in the installation of this equipment. It 
 is usually the safest practice to turn this entire 
 
 114 
 
proposition over to one concern, under a writ- 
 ten contract providing for satisfactory projec- 
 tion before payment is made for the apparatus. 
 
 In addition to the projection machines, there 
 is of course the matter of rectifiers, transform- 
 ers, switchboards, re-winders and such suppHes 
 as carbons, etc., upon all of which competent 
 advice will be given gratis by the concerns spe- 
 cializing in moving-picture projection and 
 equipment. 
 
 The fire-extinguishing apparatus should in- 
 clude only approved types; and a pail of clean, 
 dry sand should be placed adjacent to each 
 machine in the booth. 
 
 The spotlight equipment, color wheels and 
 media, if spot is to be operated from the booth, 
 should be a complete and approved installa- 
 tion. 
 
 A station on the inter-communicating tele- 
 phone system should be located in the booth. 
 
 115 
 
CHAPTER III 
 
 THE STAFF 
 
 Front of House 
 
 IN its general details, the managing of a 
 theatre resembles nothing so much as the 
 managing of a ship; there is more than the 
 flavor of an old saw in the admonition to "keep 
 things ship-shape." Eternal vigilance is the 
 price that the manager, as well as the ship's 
 captain, must pay in order to attain the high- 
 est efficiency and the best results. It should 
 never be forgotten that the theatre draws peo- 
 ple of all sorts and conditions; in particular 
 does the vaudeville house draw from both the 
 classes and the masses. A theatre should rep- 
 resent to the less favored of its patrons, some- 
 thing finer and more desirable than their or- 
 dinary surroundings; and to the better class, 
 it should never present itself as inferior to the 
 environment to which such persons are accus- 
 tomed. 
 
 116 
 
If undue insistence seems to be laid upon the 
 observance of such matters as the cleanliness, 
 decorum and duties of the personnel of the 
 theatre, it should be born in mind that upon 
 these seemingly unimportant details depends the 
 tone of the house and that ultimately they de- 
 termine the class into which the theatre must 
 inevitably fall. 
 
 The Manager 
 
 Assuming that the theatre is fairly well lo- 
 cated, is in reasonably good physical condi- 
 tion, and that the bookings are "fair" or bet- 
 ter, the degree of success or failure which the 
 institution achieves will depend largely upon the 
 ability, personality, initiative and resourceful- 
 ness of its manager. 
 
 Here is a place where a "penny wise and 
 pound foolish" policy is extremely ill-advised; 
 it is rarely the case that a few dollars a week 
 will not cover the difference between the salary 
 of a real manager, with a reputation for suc- 
 cesses, and that of one who does not possess 
 either that reputation or the qualifications es- 
 sential to achieving it. 
 
 117 
 
The manager will have many problems to 
 meet and solve, and the ideal includes some of 
 the characteristics of the lawyer, diplomat, 
 shrewd merchant, aggressive advertiser, wise 
 executive, "good mixer" and gentleman. His 
 mental equipment must be such as will enable 
 him to cope promptly and intelligently with 
 the emergencies which are constantly arising. 
 
 First. He will meet many of the patrons, com- 
 ing into contact with them during their visits 
 to the theatre, and they will, to a considerable 
 extent, judge the house by its manager. He 
 must be a gentleman in every sense of the 
 word; the type of man who can and will make 
 the clientele of the theatre feel "at home" there 
 and who yet will not step over the faint line 
 which separates hospitality and friendliness 
 from effusiveness and fulsome over-cordiality. 
 His moral conduct must be above reproach 
 — this goes without saying; for nothing will so 
 quickly establish a theatre in a bad light with 
 the better class of the public as gossip about 
 the conduct of its manager; such as, constant 
 visits to a near-by cafe, the late-hour cafe habit 
 and association with people of questionable re- 
 pute. 
 
 118 
 
Second. He must be able to impress upon his 
 staff the all-important point that unfailing, in- 
 variable courtesy to every patron, to fellow-em- 
 ployees, and to the artist, is essential to obtain- 
 ing and retaining employment in the theatre. 
 It is vital that he impress this upon his staff 
 by setting the example, as well as by instruct- 
 ing them in the matter. He must be just and 
 fair in distributing the work to be done, and, 
 as in every other successful business, he must 
 put all his subordinates upon the same plane as 
 to promotions, increases in salary, etc.; i.e., 
 based upon general efficiency only. 
 
 Third. It is absolutely essential that he cul- 
 tivate friendly relations with the press, poli- 
 ticians, city officials, civic and other organiza- 
 tions, women's clubs, business concerns, the 
 clergy and the public and private school heads 
 of the city. Any of these may prove an im- 
 portant factor in the success or failure of the 
 theatre, and no season will pass in which their 
 friendship, having been cultivated and secured, 
 will not prove of immense value to the business. 
 It is desirable that the manager be himself a 
 member of some of the better fraternal and 
 civic organizations, though this is not absolutely 
 essential. 
 
 119 
 
Fourth. His relationship with the artists must 
 be marked by friendly courtesy; he should make 
 it an invariable rule to meet the acts as soon as 
 possible after their arrival at the theatre; should 
 inquire if their needs as to properties, etc., have 
 been adequately cared for, and should exert 
 himself to impress the artists with the manage- 
 ment's desire to do all it consistently can to 
 make the engagement pleasant and profitable 
 for all concerned. It goes without saying that 
 doing this need not involve loss of dignity or 
 undue familiarity with any of the artists. Very 
 little time and effort are required of the man- 
 ager to do this, and the result will mark the 
 difference between a theatre for which the art- 
 ists are glad to do their best and one in which 
 they merely go through the performances neces- 
 sary to earn their salary. No investment of a 
 little thought and care will return greater pro- 
 portionate dividends than that put out in this 
 direction. 
 
 Fifth. The importance of the manager's re- 
 port on shows is often not realized, with the re- 
 sult that the proper information does not reach 
 the booker concerning how the shows he is fur- 
 nishing a theatre are pleasing its audiences. This 
 is a point upon which it is essential that there 
 
 120 
 
be the fullest co-operation between manager 
 and booker, regardless of whether the theatre 
 being booked is one of a chain or under inde- 
 pendent ownership. 
 
 In the first place, the report should be ren- 
 dered promptly after the manager has wit- 
 nessed the two opening performances of each 
 bill. The report should not be based upon 
 the opening matinee only, but should invariably 
 be the result of observation of the first two 
 performances at least. Most booking offices 
 and bookers provide the manager with a form 
 upon which to make these reports, and in this 
 case the manager has but to follow the form. 
 Almost invariably, if objectionable matter or 
 business has had to be eliminated from an act, 
 the booker would like to know it. 
 
 The manager's report should be made abso- 
 lutely without prejudice, should be free of any 
 influence of personal feeling, and should be 
 based upon his judgment as to the manner in 
 which the act has been received by the au- 
 dience. A report, free from bias, and made 
 in an absolutely impartial manner and with a 
 conscientious effort truthfully to record the 
 degree of favor with which each act was re- 
 ceived by THE AUDIENCE is an extremely 
 valuable thing for the booker; it serves as a 
 
 121 
 
guide to his further hooking of the act for 
 other houses, as well as an index of what types 
 of act he should book for maximum results with 
 certain audiences. The manager's personal likes 
 and dislikes should ne^^r^ under any cir- 
 cumstances, influence his report. It must be 
 borne in mind that each theatre in which an act 
 plays is rendering a report thereon, and 
 that though the act may be a "hit" in 
 thirty-five towns out of forty, in the other 
 five it may earn only a "fair" or even 
 a "poor" report; it is the honest report, in- 
 fluenced neither by the previous record nor by 
 the general reputation of the act, which indi- 
 cates to the booker what the actual conditions 
 are and enables him to judge intelligently the 
 needs of each theatre. Further, it is often an 
 indication to him that something is going wrong 
 with an act, and it may be that through its 
 agent or some other source the booker can 
 straighten things out, and restore the act to its 
 previous and more desirable standard. 
 
 It is often observed that where a manager 
 books his own show, his report thereupon is 
 ALWAYS good; now, though this may fool 
 some other manager into booking an inferior 
 act, it does not mislead him a second time, and 
 it establishes for the untruthful manager an 
 
 122 
 
extremely unenviable record in the booking 
 office. It is true that no booker, or manager 
 booking his own shows, invariably picks win- 
 ners; it is a rule without exception that now 
 and then, with greater or less frequency, poor 
 acts are booked by the wisest of them; the hon- 
 est report recognizes this fact and faces it fear- 
 lessly; the dishonest one seeks to cover it up 
 and ultimately causes a loss of confidence in 
 the maker. 
 
 There are so many reasons justifying the 
 TRUTHFUL report, based solely upon the re- 
 ception given an act by the audience, that 
 these few remarks on the subject are worthy 
 of careful and thoughtful consideration by the 
 manager who desires not only to succeed in his 
 individual efforts but also to gain the friend- 
 ship and confidence of his booking connection. 
 
 Sixth. The manager's office hours should be 
 established ones, and faithfully observed by 
 him. It should be known about the theatre 
 that he will appear at a certain time in 
 the morning and that he is accessible in his 
 office or elsewhere in the theatre from that hour 
 until such other time as is established. There 
 are many people in the course of the day who 
 have legitimate affairs to conduct with him 
 
 123 
 
which should not be left to subordinates, and a 
 business so important as that of a theatre needs 
 and should have no less regular attention than 
 that of a bank or other commercial institution. 
 
 In the writer's travels, and during many hun- 
 dreds of visits to and inspections of theatres, 
 he has frequently found it the custom for a 
 manager to come to the theatre about noon, or 
 even later. It is suggested that this is very 
 late for attention to be given to the answering 
 of mail, responses to important telegrams that 
 have perhaps arrived during the early morning 
 hours, and for the many other matters that in 
 commercial lines are given early consideration. 
 It is a fact that this point of tardiness in get- 
 ting down in the morning has lost for many a 
 promising manager not only the recognition that 
 otherwise good service might command, but also 
 the confidence of his employers and, finally, 
 his position. 
 
 No one knows better than the author that 
 the hours are long; but that is an unchangeable 
 condition, due to the very nature of the busi- 
 ness, and of which the manager should either 
 cheerfully take cognizance or get out of the 
 game. 
 
 The example set the staff of promptness upon 
 the manager's part will be valuable; a generally 
 
 124 
 
increased efficiency will be noted in its work, 
 and the business associations of the theatre 
 will be much more pleasantly and profitably con- 
 ducted if merchants and others can find the 
 manager in his office during the hours in which 
 all other business institutions customarily trans- 
 act their affairs. 
 
 Seventh. It is essential that the manager visit 
 every part of the theatre at least once daily, 
 making a thorough inspection; that he make 
 it a point to be in and around the theatre dur- 
 ing every performance and while the audiences 
 are entering and leaving. If the staff does not 
 include a capable superintendent, the manager 
 should make it a point to visit balconies diu'- 
 ing performances; if a superintendent is em- 
 ployed, this duty should devolve upon him. 
 Frequently the balcony is permitted to run 
 itself, with the result that employees in this 
 and other seldom-visited portions of the house 
 are prone to grow careless; this is in no small 
 measure responsible for the ill-repute and gen- 
 eral unpopularity of many balconies. Bear in 
 mind that empty seats in a balcony return no 
 profits, whereas, if those whose purse prompts 
 them to patronize this portion of the theatre 
 are intelligently handled, it will encourage oth- 
 
 126 
 
ers to come, and thus the halcony may be made 
 one of the best paying sections of the theatre. 
 It costs nothing to do this, and it will mean 
 much in the way of increased business on the 
 season's operation. 
 
 Eighth. Tardiness in making reports, bank- 
 ing money or paying bills should not be tol- 
 erated. Perhaps more than any other busi- 
 ness, the theatre is in a position to clear its 
 financial records daily; that is, to know just how 
 much business has been done, what the pros- 
 pects are for the balance of the week or period 
 of the play, and there should be no excuse ac- 
 cepted for slovenly habits with respect to these 
 matters. A manager should be bonded in a 
 surety company, for his own as well as the 
 proprietor's protection. 
 
 Ninth. The manager should be very alert to 
 the publicity possibilities of each show ; he should 
 be an aggressive but intelligent advertiser, bear- 
 ing in mind that it does not profit the enter- 
 prise to spend two dollars on a special stunt 
 for every dollar it is likely to bring into the 
 house. An enormous "flash" one week, not fol- 
 lowed by something equally spectacular the en- 
 suing week, may result in a slump which will 
 more than make up for the temporary increase 
 
 126 
 
resulting from the "flash." There are times, 
 however, when the "flash" may be profitably re- 
 sorted to for general purposes, such as re- 
 aAvakening interest that has lagged, reviving 
 business in the face of unusually strong opposi- 
 tion, etc. 
 
 Tenth. The manager should not be made to 
 feel that he is nothing more than a sort of su- 
 perior janitor. He should be given responsi- 
 bilities, and if he is not capable of handling 
 them and of meeting such situations as may 
 arise, then he is not competent to manage a 
 theatre. Save in an advisory way, he should 
 not be interfered with in his choice and dis- 
 cipline of employees; if he cannot govern his 
 actions wisely in this matter, it is another in- 
 dication of incompetency. His employees must 
 feel that he is the final court of appeal, for 
 otherwise they must not be expected to comply 
 fully with his instructions and to co-operate to 
 the necessary extent in carrying out the poli- 
 cies and practices of the theatre. 
 
 Eleventh. The manager should guard care- 
 fully against getting into a rut; it is often the 
 case that he does this when things are moving 
 along smoothly, and gradually the entire organ- 
 
 127 
 
ization, including the management, slumps. The 
 successful management of a theatre requires that 
 the individual doing it be "on his toes" all the 
 time. He should forget there is such a thing as 
 opposition, and never knock. The world hates 
 a knocker and knocking re-acts in the other 
 fellow's favor. 
 
 Twelfth. It is a peculiar fact that to the lay 
 mind the theatrical manager is invested with 
 a sort of glamor; he is likely to be made much 
 of by those looking for favors of one sort or 
 another, or by stage-struck girls and idle women. 
 He should guard against becoming conceited, 
 haughty and arrogant through these things; a 
 condition quite possible, as the experience of 
 large and small circuits have proved time and 
 time again. 
 
 Thirteenth. It goes without saying that his 
 personal bills, accounts and business obliga- 
 tions should be promptly and honorably settled; 
 that he must be temperate in his habits and that 
 his private life must reflect credit upon the 
 theatre which he represents. 
 
 In conclusion, it may be said that there are 
 not now and never have been enough real man- 
 agers to go around. It is the experience of the 
 
 128 
 
writer that those who have proved exceptionally 
 competent are quickly recognized and rapidly 
 offered promotion to larger theatres and greater 
 responsibilities. But capable managers are be- 
 ing made, and each proprietor can help to make 
 more of them by exerting his influence, so far 
 as is possible, toward understanding and put- 
 ting into practice the rules of conduct and per- 
 formance which distinguish the thorough-going 
 and successful manager. 
 
 The Treasurer and Ticket- Seller 
 
 The box-ofRce is the heart of the business. If 
 it does not function properly the enterprise is 
 doomed, for it will avail nothing if the theatre 
 does a big business but the money fails to get 
 into the bank; it will profit little indeed if the 
 efforts of the rest of the staff are discounted 
 or put at naught by improper handling of the 
 public at this important point. Take notice 
 that every patron of the house comes to the box- 
 office before entering the theatre. Too much 
 careful thought and attention cannot be devoted 
 to this part of the theatre. 
 
 Too often a theatre is built without proper 
 attention to the requirements of the box-office. 
 Frequently the architect provides a beautiful 
 
 129 
 
and tasteful front for it, but does not allow 
 enough room for efficient work to be done be- 
 hind that front. It is often illy-lighted and 
 almost without ventilation. It is frequently 
 so cramped for space that the ticket-seller's 
 very elbows are crowded to his sides. These 
 conditions should not exist. 
 
 The treasurer comes into direct contact with 
 every patron of the house; it is to him that the 
 clients look for courteous and attentive service; 
 it is the treasurer who, to many, is the theatre. 
 Polished, genial, and beyond all smilingly court- 
 eous under any circumstances, the ideal treas- 
 urer is a quick thinker, a quiet-voiced and gen- 
 tlemanly salesman who can dispose not only of 
 the desirable seats, but the less desirable ones 
 as well, and do this without deceiving the pa- 
 tron. 
 
 The public is often crochety and unfair. Fre- 
 quently it is inclined to resent being seated in 
 anything but the "sixth row center on the aisle," 
 and it takes much patience, diplomacy and tact 
 at the ticket-window to overcome this unrea- 
 sonableness. The treasurer who cannot retain 
 his poise and an unfailing smile in the face of 
 an impatient, hurrying line is not fitted for the 
 position. 
 
 ISO 
 
One person is inclined to stand at the win- 
 dow in a waiting line to discuss this or that 
 with reference to the seats offered; another 
 crowds or pushes in ahead of the line and en- 
 deavors to secure preferred attention; still an- 
 other is inclined to dispute the price of the 
 seats, and so on without end; but the wise and 
 able treasurer is one who has the knack of 
 selling his line rapidly, quietly, efficiently and 
 withal, politely — a smile and a pleasant "thank 
 you" concluding each transaction, regardless 
 of the attitude of the patron. A treasurer 
 should make absolutely sure, in each transac- 
 tion, that there is a clear understanding on the 
 part of the patron as to which particular per- 
 formance he is getting tickets for. If this is in- 
 variably done, many disputes will be avoided 
 and unpleasant arguments at the door or with 
 ushers prevented. 
 
 Coupon-tickets are usually printed in uni- 
 form length, though some ticket printers' stock 
 varies in width and weight of card-board. It 
 is advisable to get cardboard sufficiently heavy 
 so that the imprint will not show on the back 
 and the tickets will stand well in the rack. 
 
 It is not wise to select various shades of one 
 color for tickets, as the door-man and ushers 
 are likely to be confused thereby; distinctly con- 
 
 131 
 
trasting colors should be used to differentiate 
 location and price of seats. Sufficient racks 
 should be provided to accommodate the current 
 sale and reservations for one or two weeks in 
 advance. 
 
 Reel-tickets are more readily sold from reel 
 standards in rolls of two thousand tickets; these 
 tickets should be consecutively numbered and 
 have printed in plain type the location in the 
 theatre for which they are intended. 
 
 A treasurer should cultivate the habit of 
 knowing his regular patrons by name, and so 
 addressing them as they come to the window. 
 Small a thing as this is, it is very pleasing to 
 the patron and is of material aid in influencing 
 his friendship for the house. 
 
 There are no circumstances in which the treas- 
 urer should dispute with the patron; it is a 
 proved fact in the most successful theatres in 
 the country that here, at the very heart of the 
 theatre, unfailing and patient courtesy and 
 pleasantness secure almost unbelievable results 
 in the friendship of the general public toward 
 the house. 
 
 The telephone service in the box-office merits 
 the closest attention; calls must be promptly 
 and courteously answered regardless of condi- 
 tions. People calling to reserve seats are im- 
 
 132 
 
patient of delays and resent abrupt answers 
 when they do secure connection. 
 
 Promises made in the box-office must be ful- 
 filled; the rule as to how long seats will be 
 held for a given performance should be posi- 
 tive and those in charge instructed that clients 
 telephoning for reservations be informed that 
 the seats will be held until a certain specified 
 time only. This time limit should also be an- 
 nounced by a box-office sign. Exceptions may 
 be made when it is known positively that the 
 patron is dependable; if, in such a case, the 
 promise is made that the tickets will be held un- 
 til called for, this promise should be kept even 
 if it involve the necessity of mailing the unused 
 tickets to the patron the next day, and collect- 
 ing for them. Persons entertaining guests are 
 frequently late in reaching the theatre, and will 
 be justly annoyed if the promised reservations 
 are not held for them. A displeased patron is 
 a poor advertisement. 
 
 The treasurer should understand the art of 
 "dressing" the house on off-nights, that is, when 
 business is not capacity, by selling alternate 
 pairs of seats so that when the performance 
 commences the house will have the appearance 
 of being full. "Nothing succeeds like success," 
 and the report of those who see the show that 
 
the house was full will have a favorable in- 
 fluence toward bringing others to witness sub- 
 sequent performances. 
 
 The less desirable seats in the high-priced 
 section should be disposed of before all the 
 choicer ones are gone, for certain patrons who 
 come late will demand the best seats or decline 
 to purchase. A few good pairs should be held 
 until the last minute to cover any adjustments 
 which must be made, or to accommodate a late 
 comer of whom, for some adequate reason, it 
 may be desirable to take specially good care. 
 
 The clientele should be sufficiently well known 
 to the treasurer to enable him to avoid seating 
 persons of questionable repute next to those of 
 high social standing; he should be careful not 
 to seat the mechanic in overalls, who now and 
 then strolls up to the window, in a section 
 where he may be conspicuous to his own dis- 
 comfort or to the displeasure of those about 
 him. A drunken man or woman should be ab- 
 solutely refused a ticket. This individual falls 
 asleep during the show and snores; or he in- 
 sists on talking to the persons seated next to 
 him, or he becomes ill. In any event the chances 
 are a hundred to one that he will spoil all or 
 a part of the show for all or a part of the 
 audience. 
 
 134 
 
The ticket-seller should endeavor, so far as 
 is consistent with the conditions, to dispose of 
 the higher-priced seats first; often the sale for 
 one performance may in this manner be in- 
 creased in gross revenue more than the amount 
 of his salary for an entire week. 
 
 The same courteous attention should be ac- 
 corded the purchaser of balcony seats as of a 
 box. The public is not compelled to come to 
 the theatre; attending shows is largely a matter 
 of habit, and it doesn't require many rebuffs 
 at the box-office to divorce a person entirely 
 from the habit or desire of attending a par- 
 ticular theatre. An unpopular theatre is a con- 
 stant incentive to someone to build an opposition 
 house that will be popular. 
 
 The ticket-seller should serve those in line in 
 their proper order, and never sell out of his 
 turn the person who reaches over or pushes in 
 ahead of those in front of him. A quiet re- 
 quest to such person to "Please take proper 
 place in the line," without shouting or 
 rude command, should be the practice in such 
 matters. If the line is at all extended, a spe- 
 cial policeman should be on duty to keep per- 
 sons in their proper places, prevent crowding, 
 pushing and disorder. He should ne^tr push 
 people about, shout at them, or act as if he were 
 
 13B 
 
driving cattle. This sort of thing will be remem- 
 bered and resented. 
 
 A box-office convenience worthy of installa- 
 tion is a system of registration for physicians 
 and others who may be called during the show. 
 A card, on hand in the box-office, is given them 
 to fill out and is then handed to the usher. The 
 usher marks in the seat-number and returns the 
 card to the box-office. If a call comes in, the 
 persons wanted can be quickly and quietly lo- 
 cated. Even where seats are not reserved, it 
 is wise to have them numbered and lettered 
 for such purposes. 
 
 That the treasurer should be absolutely hon- 
 est, bonded in a surety company, prompt in 
 banking his money and making his reports, is 
 understood. It should be an inviolable rule 
 that he do not have visitors in the box-office, 
 nor social conversations at the window thereof. 
 Smoking in the box-office should be positively 
 forbidden, likewise the chewing of gum. 
 
 The general appearance of all box-office em- 
 ployees is important; clean shaved, clean hands, 
 well-kept nails, clean linen, are essential. An 
 offensive or foul breath must be remedied. At 
 night performances the ticket-seller should wear 
 dinner dress, and at no time should he work in 
 shirt-sleeves. Heat comes with the summer, it 
 
 136 
 
is true, but this does not justify a coatless 
 ticket-seller. Light-weight alpaca, linen and 
 similar clothes are available then. 
 
 If the ticket-seller is a woman, she should be 
 attractive but not too pretty, unless she is one 
 of those rare exceptions who does not unduly 
 value her good looks. Peroxide blondes have 
 no use for other women, and too much attrac- 
 tion for young men. 
 
 The box-office should be equipped with a 
 standard safe, for the exclusive use of the treas- 
 urer, and HE ONLY^ with the exception of 
 the manager, should possess the combination; 
 the responsibility for the contents of the safe 
 should be absolutely clear at all times. 
 A further reason for equipping the box-office 
 with a suitable safe is found in the fact that in 
 case of shortages the bonding company may 
 take refuge in the fact that the treasurer was 
 not equipped to protect his funds properly. 
 It is important that the line of responsibility 
 for the money be clearly and definitely es- 
 tablished at all times, and every precaution on 
 this point should be taken. 
 
 There should be a change machine provided 
 which makes change accurately and saves time 
 in handling pennies. 
 
 A niggardly and insufficient salary has been 
 
 137 
 
known to tempt men to dishonesty. The treas- 
 urer of a theatre constantly handles compara- 
 tively large sums of money, his position is one 
 of trust and responsibility, and he should be 
 adequately paid. In this connection, it is a pro- 
 pos that brief mention be made of some of the 
 schemes employed by dishonest treasurers and 
 which have cost proprietors thousands of dol- 
 lars. 
 
 During a recent season, in a big-time theatre, 
 through collusion between the ticket-seller and 
 door-man, the following scheme resulted in the 
 theft of over seven thousand dollars: The 
 house sold reel-tickets for unreserved seats on 
 the main floor; the door-man, instead of 
 dropping these tickets into the box, as lifted, 
 would hold out from thirty to sixty on each per- 
 formance. At some time during the perform- 
 ance he would pass these back to the treasurer, 
 who would re-sell them and appropriate the 
 proceeds, which were later divided between them. 
 A variation of this plan is for the door-man 
 to put the tickets in some place where the 
 treasurer can get them, as, for instance, in a 
 toilet, or smoking room, or behind a partition 
 or some other semi-concealed spot. The treas- 
 urer then leaves the box-office "for a moment," 
 gets and re-sells them. This is an old, proved, 
 
 138 
 
and very popular plan for dishonest employees. 
 It illustrates the necessity for two strictly en- 
 forced rules: (1) The door-7nan must never, 
 under any circumstances, approach the hox- 
 office or converse with the treasurer during or 
 after a performance , and he must deposit tick- 
 ets, immediately after lifting, in a locked ticket 
 box to which the manager has the only key. 
 (2) If any adjustments are to he made, the 
 patron himself, the manager or the superintend- 
 ent must make them. 
 
 Through collusion of usher, door-man and 
 treasurer it is possible, even easy, to misuse 
 coupon-tickets when performances are not being 
 played to capacity. 
 
 If any other than the manager, personally , 
 issues and signs passes, it is possible for the 
 treasurer and door-man to make use of them 
 dishonestly and defraud the theatre of many 
 dollars. Alteration of passes from "two" to 
 "three" or "four" should be guarded against 
 by a rigid check of all that are honored. 
 
 The practice of "short-changing," though 
 nearly obsolete, still offers many chances for the 
 dishonest box-office employee. "Walkaway," 
 meaning change left on the counter by the pa- 
 tron, should invariably be restored to him if he 
 can be called back, or located. 
 
 139 
 
The safe plan, and the one that is fairest to 
 all concerned, is to insist that the door-man 
 deposit all tickets and passes lifted, in the box, 
 just as rapidly as they are received; that the 
 treasurer have his report ready by the time the 
 performance is over; that the manager person- 
 ally, or by trusted aide, count the ticket-box 
 AFTER EACH PERFORMANCE ; that care be taken in 
 the case of reel or strip-tickets to see that the 
 treasurer does not use a counterfeit roll, and to 
 exercise a keen and ever-watchful supervision 
 over this department. 
 
 A sufficient change fund should be allowed 
 the treasurer; the box-office should be open con- 
 tinuously from 9 a. m. to 10 p. m. There 
 should NEVER be a time between these hours 
 when there is not someone in the box-office pre- 
 pared to sell tickets, answer questions or the 
 telephone. 
 
 In this connection, it is well to note that the 
 legal status of the ticket differs with the states. 
 In some localities a ticket is regarded as a license 
 and in others it is a lease. A lease may not be 
 broken without redress. A license may be re- 
 voked at any time by reimbursing the holder 
 of the license. It is best to have the tickets 
 read to the effect that "This ticket is a license, 
 
 140 
 
terminating at the pleasure of the manage- 
 ment." 
 
 The Superintendent 
 
 This employee has been found necessary to 
 the proper and profitable operation of the larger 
 theatres in the larger cities. 
 
 In a general way his duties, under the su- 
 pervision and direction of the manager, are to 
 see that the theatre is kept clean— front and 
 back. He should see to it that heating and ven- 
 tilation are properly attended to, that burnt-out 
 or missing lamps are replaced, that torn car- 
 pets, broken seats, squeaky door hinges, bad- 
 order toilets, defective or broken fire-exits and 
 such matters are given proper attention; and, 
 by systematically and unostentatiously visiting 
 each floor of the theatre and covering all parts 
 of the front of the house during performances, 
 see that order and quiet are maintained. 
 
 Cleaners, porters, janitors, etc., should work 
 under his direction, and he should be held en- 
 tirely responsible for the cleanliness of the thea- 
 tre, lobby, sidewalks and exit spaces. He should 
 be careful to see that the fire-prevention and 
 extinguishing apparatus of the theatre is main- 
 tained in proper condition; chemical extinguish- 
 ers re-charged at necessary intervals; hose lines 
 
 141 
 
kept in thorough working order, etc. He should 
 see that the motors on ventilating equipment are 
 oiled at frequent intervals, that ceiling and 
 other fans are cleaned and oiled; in a word, 
 that the entire physical equipment of the theatre, 
 including chairs, furniture, etc., is suitably cared 
 for. 
 
 He should make a careful inspection of the 
 entire front of the house prior to the opening 
 of doors at each and every performance. He 
 should call and rehearse a fire drill with the 
 ushers, door-men and porters weekly. 
 
 He should look to the use of cleaning ma- 
 terials, such as brooms, mops, brass polish, etc., 
 and see that economy is practiced by checking 
 in and checking out all utensils and materials 
 in this department; he should guard against 
 the waste of electric light during cleaning hours, 
 and in renewing bin*nt-out lamps, etc., at the re- 
 quest of employees, he should require that the 
 burnt-out lamps be turned in in exchange for 
 the new ones. 
 
 He should have had experience in handling 
 crowds and know how to do so quietly and with 
 discretion; to adjust little errors and arguments 
 in a diplomatic and pleasing manner. It is not 
 intended that he shall assume any of the man- 
 ager's duties, but he should be an understvidy 
 
 142 
 
to the manager, and his chief aide. 
 
 In the matter of handling a patron whose 
 conduct is unbecoming or offensive, it is the 
 best practice to persuade the person to come 
 out into the lobby, or into the manager's office, 
 to discuss the difficulty, thus often avoiding the 
 confusion of a noisy ejectment, and perhaps 
 a damage suit. Disorderly individuals can often 
 be persuaded to come out to talk matters over, 
 and then the question of re-admitting them can 
 be settled without disturbing the audience; if 
 the offender is never to be permitted to enter 
 the theatre again, the ticket-seller and door- 
 man should be advised of the fact then and 
 there. 
 
 The superintendent should be punctual in re- 
 porting for duty, thus not only setting a good 
 example, but enabling him to see that every- 
 one under his supervision is also at work on 
 time. He should be uniformed during per- 
 formances, and prior to the opening of the 
 doors, should inspect the ushers and all other 
 attaches of the front of the theatre, except those 
 in the box-office. He should see that those 
 under his charge are at their stations at the 
 proper time, are uniformed, have clean hands 
 and nails, shined shoes, etc. 
 
 It will be seen that he must be something of 
 
 14-3 
 
a diplomat, so in choosing an employee for this 
 position, look well into his record and select an 
 intelligent, high-class man — ambitious, energetic 
 and clean-cut, who is real timber for future use 
 in a higher position. 
 
 The Door-Man 
 
 If a theatre is to enjoy the fullest measure 
 of popularity, this is a position in which a con- 
 servative, well-balanced, dignified yet friendly 
 individual is needed. 
 
 In general practice, it is desirable that a door- 
 man be from thirty to forty years of age, if 
 possible of commanding stature, and always 
 well-groomed, cleanly shaved, clean hands and 
 nails, polished shoes and well-brushed uniform. 
 He should be careful that his breath is not mal- 
 odorous. He should neatr shout directions at 
 patrons. Tickets should be quickly lifted, care- 
 fully scrutinized to see that they are for the cur- 
 rent performance, patrons quietly but clearly di- 
 rected to the correct aisle (if this is not to be 
 done by the head usher or superintendent), and 
 the stubs or tickets deposited in the ticket-box 
 
 IMMEDIATELY. 
 
 The door-man should be positively forbidden 
 to converse, or have transactions of any kind, 
 
 144 
 
with the treasurer or ticket-seller immediately 
 hefore or during the entrance of patrons, and to 
 hold any long or unnecessary conversations with 
 either friends or patrons while on duty. 
 
 The door-man should be commissioned as a 
 "special policeman" if possible, and should be 
 a man of sufficient discretion to know when and 
 how to use this authority. He should never 
 permit any person under the influence of liquor 
 to enter the theatre. 
 
 He should, under no circumstances, be vested 
 with discretionary power in the matter of ad- 
 mitting people who hold no ticket or pass. It 
 should be distinctly impressed upon him that 
 e\t:ry person admitted must present either a 
 ticket or a pass. Xor should he use the "I'll re- 
 member you" system of taking care of pass-outs. 
 He should be provided with pass-out checks, give 
 one to each person leaving during a perform- 
 ance who intends to come back during the show, 
 and he should lift this check when the patron 
 re-enters. 
 
 The door-man should be assigned morning 
 duties around the theatre and, in the time avail- 
 able then, may save the salary of an extra em- 
 ployee. 
 
 A refinement of this position, and one that 
 should ultimately make the man who occupies 
 
 146 
 
it almost invaluable to the theatre, is his learn- 
 ing to know most of the regular patrons by 
 name, and to address them pleasantly by it, as 
 they hand him their tickets. In the handling 
 of children, elderly ladies, infirm persons and 
 so on, it goes without saying that tact, un- 
 failing courtesy and never ending patience 
 should be the rule. 
 
 On account of its importance, the author re- 
 peats the injunction that the door-man be care- 
 fully trained in the matter of being sure, at 
 the time he lifts the ticket, that it is for the 
 performance then being given. It is infinitely 
 easier and more pleasant to adjust an error at 
 this time, than after the patron has been seated 
 at the wrong performance. Then the patron 
 resents being called from his seat, and fre- 
 quently a very embarrassing situation is created. 
 
 The Special Policeman 
 
 Though it is not the imiversal custom for 
 theatres to have a special policeman on the staff, 
 it is required by the ordinances in some cities; 
 in others it has been found a necessary position 
 to establish, and in general practice it is desir- 
 able to have a capable man about the theatre 
 during performances, who is vested with power 
 
 146 
 
to make an arrest if necessary, or who has legal 
 authority to quell disturbances. 
 
 In many theatres it is the custom to secure 
 a commission for the superintendent or door- 
 man, which saves an extra salary — except in 
 such cases as there is need for a special police- 
 man to serve solely as such. The management 
 w^ill, of course, decide what the conditions re- 
 quire in this matter; but if a special policeman 
 is employed, he should be in uniform, familiar 
 with the rules of the police department and, 
 preferably, a man who has had actual service 
 therein. 
 
 This officer should of course be alert and 
 watchful, stern in suppressing any disorder or 
 unbecoming conduct on the part of any person 
 in any part of the theatre; but he should never 
 resort to rough tactics, for instance in effecting 
 ejectment of a gallery patron; for unless the 
 circumstances are especially aggravated, this 
 is likely to bring about a damage suit. The 
 officer should, if time and circumstances per- 
 mit, consult with the manager before making 
 an ejectment, for sometimes a little diplomatic 
 talk will stop the trouble when an attempt at 
 ejectment will precipitate a serious fight and 
 absolutely ruin a show, perhaps causing a panic. 
 
 The special policeman should quietly and un- 
 
 147 
 
ostentatiously visit every portion of the theatre 
 several times during each show, keeping on the 
 move from part to part of the auditorium, bal- 
 cony and gallery and watching the lobby. As 
 he passes through the various portions of the 
 theatre he will see and rectify in a quiet and 
 polite manner many little things which, if not 
 checked then, may lead to disagreeable inci- 
 dents later on. By merely standing in a side 
 aisle near the offender, silent watchfulness may 
 have the desired effect. 
 
 While the gallery is usually the place most 
 likely to require attention, it should be remem- 
 bered that intoxicated men get by the ticket- 
 seller and door-man, and when seated in the 
 warm theatre become talkative and boisterous. 
 The time to catch these things is, of course, be- 
 fore the individual gets into the theatre; for a 
 drunken man, if discovered, should never be 
 permitted to enter. 
 
 It is a peculiar fact that disturbances always 
 seem to start just at a moment when the man- 
 ager, superintendent and head usher are en- 
 gaged elsewhere, and the alert officer should 
 be another check on these things. 
 
 The habit of many officers, standing about 
 gallery or other entrances, discussing politics or 
 some other subject with a door-man or outsider, 
 
 148 
 
should be sternly discouraged. A quiet, de- 
 termined, efficient and polite man, who can tell 
 the difference between a gentleman and a row- 
 dy, and will use discretion and judgment in 
 handling both, makes the ideal officer. 
 
 The Ushers 
 
 These are important employees and too much 
 care cannot be devoted to their selection. If 
 boys are employed, they should be between the 
 ages of seventeen and twenty; if girls, between 
 twenty and twenty-eight. Boys should not be 
 loafers or cigarette fiends, and the character 
 of the girls should be above question. The 
 writer has often found it possible to secure a 
 corps of young married women, and invariably 
 these have proved the very best type to use in 
 this position. Boys are boys and inclined to 
 pranks and play while on duty, often to undue 
 familiarity with patrons and other short-com- 
 ings in handling the public. Girls working for 
 a little "pin money" do not need the position 
 badly enough, as a rule, to take good care of 
 it, while the young married women are fre- 
 quently helping a husband in the purchase or 
 outfitting of a home, or some such matter. In 
 general, they want the work for the money there 
 
 149 
 
is in it, and are more amenable to rules and 
 more careful in observing instructions. 
 
 Ushers should be carefully and thoroughly 
 trained in their duties; after a few weeks in one 
 station in the theatre they should be changed 
 to another and so on until each usher is qual- 
 ified to work at any station in the auditorium. 
 
 Extreme neatness should characterize their 
 appearance: hair neatly dressed; shoes polished; 
 stockings free from holes or "runs" about the 
 ankles. They should never chew gum while 
 on duty. They should report in a body to the 
 superintendent or manager at least ten min- 
 utes before the doors are due to open, for in- 
 spection. If boys are employed, smoking, 
 laughing or playing on duty should be cause for 
 instant dismissal. There should be a standing 
 rule of "I^O TIPS." 
 
 Here are a few of the essential rules which 
 should govern them: 
 
 1. Under any and all circumstances politeness 
 
 MUST govern every association with the 
 patrons, all complaints being referred to 
 the superintendent or manager. 
 
 2. There must be no smoking, gum-chewing, 
 
 playing, etc., about the theatre; nor any 
 conversation between ushers while a per- 
 
 160 
 
formance is on; nor should ushers seat 
 themselves during performance in rear 
 rows next to patrons. 
 
 3. Hair must be brushed and orderly; hands 
 
 and nails must be clean; shoes must be 
 polished; uniforms well pressed and neatly 
 kept; and an erect bearing maintained at 
 all times. 
 
 4. Every transaction with a patron :must be ac- 
 
 companied by a pleasant smile and con- 
 cluded with a "Thank you." 
 
 5. All uniforms must be carefully hung on 
 
 hangers in lockers or ushers' room after 
 each performance, and this room must be 
 at all times kept clean and tidy. 
 
 6. If a six-day town, ushers should never enter 
 
 the theatre or hang around the front of 
 
 same on Sundays. 
 These employees should be given clearly to 
 understand, in common with every other em- 
 ployee of the house, that impudence, imperti- 
 nence or discourtesy to a patron will not 
 be condoned, regardless of the circumstances. 
 It is not intended that employees shall be ser- 
 vile or lacking in spirit and pride, but that they 
 shall realize that in dealing with the general 
 public — whether it be on a railroad train, in a 
 hotel, telephone office or other public institu- 
 
 161 
 
tion — there is but one policy which has proved 
 unfailingly profitable, and that is the one 
 which makes uniform and invariable courtesy 
 
 to EVERY PATRON, under ANY AND ALL CIRCUM- 
 STANCES, the dominant characteristic of the busi- 
 ness. 
 
 Ushers should be provided with small elec- 
 tric flashlights for use in seating patrons after 
 the curtain has risen and the auditorium is 
 darkened. These, held low, guide the patron, 
 sometimes preventing his falling, and a conse- 
 quent lawsuit. 
 
 Ushers should never run or slide down aisles 
 or congregate in two's and three's to gossip. 
 They should be carefully trained to read their 
 couj^ons accurately, and to know, when they 
 start out with a patron, just where they are go- 
 ing, not ushering him back and forth or up and 
 down an aisle. Ushers should never endeavor 
 to seat two parties of patrons at the same 
 time. 
 
 If ushers handle the programs, their instruc- 
 tions should be to see that every patron receives 
 one, as this is just as important a part of "ser- 
 vice" as seating them properly. Soiled or used 
 programs should never be distributed, or a seat 
 noisily slammed down. 
 
 If water is passed by the ushers during per- 
 ils 
 
formances, as is not infrequently the case, a time 
 should be chosen for this that will not interfere 
 with the act then on. In other words, this should 
 never be done during a quiet act. And when it 
 is done, every precaution should be taken to do it 
 quietly, unobtrusively, and with a minimum of 
 disturbance to patrons and acts. 
 
 Ushers should be impressed with the neces- 
 sity of conducting themselves in the dressing- 
 room, theatre, and in their dealings with the 
 public as they would in a refined home, and 
 there should never be a general exodus of 
 ushers just before the show is over. They 
 should take their appointed stations, stand 
 erect and "in service" until the last patron is 
 out, after which they should each cover their 
 respective section of the theatre, turn up each 
 seat, pick up any lost articles and turn them 
 in to the box-office or superintendent; and not 
 until this is done, are they "off duty." Turn- 
 ing back the seats will often discover loose or 
 broken ones, and will also facilitate work for 
 the cleaners. 
 
 It goes without saying that an usher should 
 never leave his post of duty to go out of the 
 theatre or back stage during a performance 
 except upon specific instructions from the super- 
 intendent or manager. 
 
 15S 
 
The Night Watchman 
 
 A sober, reliable, industrious middle-aged 
 man should be employed, to report for duty 
 at about seven in the evening and be relieved at 
 about 7:30 a. m. by the porter or cleaners. 
 
 He should be provided with the standard 
 watchman's clock, stations therefor being lo- 
 cated close to box-office, at front of theatre, 
 both sides of auditorium, balcony, gallery, on 
 stage, under stage, at back door of theatre and 
 such other points as should be regularly visited 
 during the night. 
 
 The night watchman, while his first duty is 
 to see to the general safety of the theatre, can 
 be "doubled" as a cleaner between about 3 
 a. m. and his relief time, and used to clean the 
 balcony or gallery, or some other section of the 
 theatre. He can do this without interference 
 with his efficiency as a watchman, and thus jus- 
 tify his salary, which is, in many theatres, con- 
 sidered rather an unnecessary one. 
 
 A theatre is, however, subject to so many 
 risks that it has been the writer's experience 
 that the expense incident to keeping a reliable 
 night watchman on duty is more than justified, 
 especially if he is given some work to do about 
 the house at night that will not interfere with 
 
 154 
 
his duties as guardian of the property entrusted 
 to his care. 
 
 The Porters and Cleaners 
 
 The porter is the general "handy man" 
 around the theatre; as a rule his hours are long 
 and his service includes the making of many 
 little repairs about the house. It follows that 
 he should know how to repair a leaky faucet, 
 a bad-order toilet, a noisy radiator or a broken 
 chair; he should also be able to use a paint 
 brush properly. A good porter, honest, dili- 
 gent and efficient, is a valuable employee, and, 
 if he is capable, his value will far exceed in 
 dollars and cents the amount of his salary. 
 
 Whether one or more porters are employed, 
 written instructions should be issued govern- 
 ing their general duties, and the manager and 
 superintendent should both check closely behind 
 the work done, observing that it is thorough, that 
 economy is practiced in the use of cleaning ma- 
 terials, etc. 
 
 Porters should wear uniforms and caps, but 
 of a different type and color from those of the 
 balance of the staff. They should report 
 promptly for work at the hour designated in 
 instructions. If the head porter doubles as 
 
 165 
 
footman, it should be his duty to see that the 
 lights are turned out and the front of house se- 
 curely closed after each performance. 
 
 Lobby, sidewalk and gutters should be kept 
 clean, but this work should never be done while 
 audiences are passing in or out of theatre, ex- 
 cept as to picking up used ticket envelopes 
 strewn about the floor, etc. A mop and pail 
 of clean water, broom and dustpan should be 
 kept in some accessible (concealed) place, avail- 
 able for emergency use in the lobby. 
 
 It is suggested that the porter and the clean- 
 ers (if men) should report for duty not later 
 than eight o'clock each morning and should be 
 given lunch hour at a time that will permit 
 of their being back and in uniform at least 
 thirty minutes before show time. 
 
 The porter should be trained carefully to be 
 polite and courteous to all persons, and as the 
 average porter is not a person of great mental 
 capacity, his work should be carefully super- 
 vised EVERY DAY by the manager or super- 
 intendent. Unpolished brass, unclean floors, a 
 disorderly lobby, dirty carpets, dusty chairs, 
 dull mirrors and glass, and filthy sidewalk and 
 gutter not only indicate an inefficient porter, 
 but also mighty poor supervision of his work. 
 
 Much emphasis is laid on the necessity for 
 
 166 
 
cleanliness in all parts of the house at all times. 
 There are reasons for this other than merely the 
 matter of making the theatre attractive, and 
 not the least important of these is that accumu- 
 lations of rubbish in the corner of a closet, be- 
 hind a door in a dark hall, under and back of 
 radiators and in seldom visited portions of a 
 theatre, have been directly responsible for more 
 than one disastrous fire. A fire in a theatre is 
 several degrees worse in its damaging effect 
 than one in almost any other institution. It 
 not only causes the physical damage and loss, 
 but it also begets distrust in the mind of the 
 public as to the safety of the house, with a con- 
 sequent loss of the patronage of timid persons. 
 
 If the management, superintendent and 
 cleaning crew are inclined toward shiftless in- 
 difference to the importance of absolute clean- 
 liness in all departments and at all times, they 
 are likely to be equally careless in other respects. 
 
 Whatever number of persons it may be 
 necessary to employ in order to keep the thea- 
 tre, in all its parts, scrupulously clean, should 
 be engaged. The best class of persons for this 
 work, in the writer's experience and observation, 
 is women from twenty-five to thirty-five years 
 of age, of sufficiently sturdy physical strength 
 to do the work well. 
 
 157 
 
In the application of oil or polish to wood- 
 work or seats, great care should be taken by 
 the cleaners to "wipe dry and polish" so that 
 the management will not be faced with claims 
 for damage to ladies' clothes. 
 
 A vacuum cleaner is a necessity and can be 
 used to great advantage in cleaning seats, be- 
 hind radiators, in corners, etc. 
 
 Each cleaner should be responsible for the 
 condition of his or her particular brooms, mops, 
 pails, etc., and should be required, after using 
 same, to store them neatly in the place pro- 
 vided for that purpose. 
 
 The Ladies' Maid 
 
 Though many theatres do not maintain this 
 employee, even when a ladies' retiring-room is 
 provided, the position is not an unimportant 
 one, and in theatres of the better class it can be 
 made a very desirable adjunct to the other ser- 
 vice of the house. 
 
 If a maid is employed, she should be chosen 
 with the same careful attention to her qualifi- 
 cations for the work to be done as is given to 
 the selection of other employees. 
 
 She should preferably be white, about thirty- 
 five years of age, of good reputation, neat and 
 
 168 
 
clean in her appearance and habits, adept and 
 deft at rendering the little services which la- 
 dies are likely to require. Her character should 
 be above reproach, and it should be her duty 
 to see that the ladies' retiring-room is kept neat 
 and clean, and the equipment maintained at 
 standard. After the show she should lock up 
 the small articles, such as brushes, combs, etc., 
 and at least ten minutes before the house opens 
 for each show, she should have the room ready 
 for inspection by the superintendent or man- 
 ager. 
 
 It should be distinctly understood that she 
 is to render cheerful, willing service to all com- 
 ers alike — as readily to the modestly as to the 
 elaborately dressed patron. She should not be 
 permitted to accept gratuities and should re- 
 main courteous and polite under any and all 
 circumstances. 
 
 Her uniform should consist of black skirt 
 and waist, with white apron and cap. She 
 should remain on duty until every patron has 
 departed from the theatre after every per- 
 formance. 
 
 The Footman 
 
 In these days of automobiles and a general 
 tendency toward "dressing up" the front of the 
 
 169 
 
house, many of the leading theatres in larger 
 cities have added a footman to the staff. Usually 
 this employee doubles in some other capacity 
 during the hours when he is not on duty as 
 footman. 
 
 If there is to be a footman at the theatre, 
 he should be of commanding stature, excep- 
 tionally polite, uniformed, and during winter 
 months warmly enough clad as to make it un- 
 necessary for him to loiter in the lobby in an 
 effort to keep warm. 
 
 He should meet patrons arriving in autos, 
 etc., at the curb, open the doors of cars, assist 
 crippled or infirm persons across the sidewalk, 
 etc. If it is a custom to park cars against the 
 curb adjoining the theatre, or across the street, 
 the footman should, so far as may be prac- 
 ticable, keep watch over them while the owners 
 are in the theatre. 
 
 After the first show, he should be familiar 
 with the exact time of the last curtain, in or- 
 der to inform patrons when asked. At the 
 close of the performance he should again be at 
 the curb, assisting in every way to expedite the 
 calling of cars, opening doors, etc. He should 
 not hold "curbstone conferences" with his 
 friends, but should be at attention during his 
 hours on duty. 
 
 160 
 
A shovel and broom should be kept in a 
 handy but concealed place, for his use during 
 the show in maintaining an orderly appearance 
 about the sidewalk, curb and gutters. 
 
 The Picture Machine and Spotlight 
 Operator 
 
 This is an employee who, under usual con- 
 ditions, works in a seldom-visited and isolated 
 portion of the theatre. Hence it is essential 
 that he be of the type that can be trusted, that 
 will be loyal, bearing constantly in mind how 
 much depends upon intelligent and efficient ser- 
 vice in his department. 
 
 First and foremost, he handles an unusually 
 inflammable material — celluloid film. Once ig- 
 nited it is extremely diflScult to extinguish. It 
 follows that all electrical equipment should be 
 so installed as to eliminate the likelihood of 
 arcing, short-circuiting, falling sparks, etc. It 
 is essential that the booth be kept scrupulously 
 clean; that all film not actually in the machine 
 be stored in proper metal containers; that the 
 safety appliances of the machine be not tam- 
 pered with, "improved," or altered in any way. 
 Manufacturers spend thousands of dollars in 
 perfecting safety devices and the National 
 
 161 
 
Board of Fire Underwriters subjects them to 
 exhaustive laboratory tests to determine their 
 efficiency; for an operator to decide that he can, 
 with a rubber band and a piece of string, im- 
 prove upon this work, is ridiculous. There- 
 fore, tampering in any way with these devices 
 should be punished by dismissal. 
 
 Automatic door-opening and closing devices, 
 protected by fusible plugs, and in accordance 
 with codes and ordinances, should likewise not 
 be indiscriminately subjected to the operator's 
 inventive experiments. 
 
 However, this does not imply that the opera- 
 tor may not have good ideas. If an improve- 
 ment is suggested by him, it should receive 
 consideration from the manager, and possibly 
 a test arranged for it, in the presence of the 
 local fire marshal and insurance experts. The 
 manager will have thereby proved his alert- 
 ness, and will have legitimately encouraged the 
 operator not only in whatever mechanical in- 
 ventiveness he may possess, but also in his feel- 
 ing of loyalty toward the theatre and its man- 
 agement. 
 
 The operator should have a pail of clean, dry 
 sand at the side of each machine for use as 
 a fire-extinguisher; nothing has proved so ef- 
 fective in film fires. In addition to this, ample 
 
 162 
 
approved chemical fire-extinguishing apparatus 
 should be provided. The buckets of sand are 
 not intended to serve also as cuspidors. The 
 booth must be kept free from any accumulation 
 of rubbish, paper and magazines, etc. 
 
 Operators are prone to "start her going" on 
 a thousand-foot reel, and then sit down to read 
 or indulge in a deep brown study as far away 
 from the heat of the lamp as they can get. 
 This is very poor practice. A picture "out 
 of frame" is a miserable thing for the audience 
 to look at, and "out of focus" is worse. It 
 does not matter that the operator may be weary 
 of looking at the same picture; so long as he 
 is running it, he should be alert at the side of 
 the machine, looking through the porthole at 
 the picture. No excuse should be accepted for 
 any other position, unless it is necessary for 
 him to rewind one film while running another; 
 in this event he should have his rewinding ap- 
 paratus so located that he can look through the 
 porthole at the picture every few seconds. 
 
 Wastage of current here, through "warm- 
 ing up" carbons earlier than is necessary, should 
 be guarded against, likewise wastage of car- 
 bons — a considerable item on the season. JNIod- 
 ern appliances have done away with the neces- 
 sity for discarding three or four inches of car- 
 ies 
 
bon butt, as almost the entire stick can now 
 be effectively consumed. 
 
 If a picture is worth running, it is worth 
 running right. It should never be "speeded up" 
 until the figures jump about crazily, nor yet 
 slowed down to the same effect. These things 
 are perfectly apparent, and are mentioned only 
 that the writer may not be accused of incom- 
 pleteness as to essential details. 
 
 Films should be promptly shipped in accord- 
 ance with the instructions of the furnishing ex- 
 change, and the operator should have a clear 
 receipt covering every shipment. He should be 
 held PERSONALLY responsible for this. 
 
 Acts requiring spotlights should be given a 
 thorough light rehearsal, and the light plot 
 should be clearly understood by the operator, 
 who should in every case be furnished with a 
 written or typed plot. There is no excuse for 
 the operator's leaving his booth or spotlight ma- 
 chine when his services are not, for the mo- 
 ment, in requisition; emphasis is placed on this 
 for the reason that his lamps are frequently on 
 an entirely different circuit from those of the 
 rest of the house, and in case of an emergency 
 he can furnish enough light to prevent a panic 
 in the auditorium. An operator should under- 
 stand that by smoking in the booth or while 
 
 164 
 
on duty, he automatically forfeits his position. 
 Cleaning, oiling and maintaining the efficiency 
 of the costly machines should be a matter of 
 pride with him — otherwise it will certainly be 
 one of considerable expense to the management. 
 The operator is in a position of peculiar trust, 
 in view of the dangerously inflammable ma- 
 terial which he handles. He should be made 
 to feel this responsibility keenly and no care- 
 lessness on his part should be for a moment tol- 
 erated. 
 
 STAGE EMPLOYEES 
 
 The Stage Crew 
 
 This is the department which actually handles 
 the production and presentation of every per- 
 formance. Unless things run smoothly and on 
 time here, the show suffers. Stage-hands should 
 not be expected to be of exceptional capabili- 
 ties; if they were they would probably not be 
 stage-hands. Therefore, upon the direction, 
 training and advice they receive from the stage- 
 manager, and through him from the manager, 
 will largely depend the thoroughness and degree 
 of intelligence with which their work is done. 
 
 It is not infrequently the habit of some mem- 
 
 166 
 
bers of the crew to slip out to a nearby sa- 
 loon; or, when a twenty-minute sketch goes on 
 and everything is set for it, to congregate with 
 other employees and outsiders in the alley, or 
 at the stage entrance. This should never be per- 
 mitted. A fire, an accident, or something gone 
 wrong on the stage, and time lost getting them in 
 and to work may spell disaster, even ruin. 
 
 A clean shave and a gentlemanly appearance 
 are no less desirable on the stage than out front. 
 There are women artists on the bill, entitled to 
 the same consideration as the women patrons — 
 and it is due them that the crew look to these 
 matters. It is also due the crew itself, for the 
 practice of requiring this will increase their 
 self-respect and their general pride in and loy- 
 alty to their craft. 
 
 Smoking on stage while on duty and report- 
 ing tardy or intoxicated are legitimate reasons 
 for dismissal. In general practice the author 
 deems it fairest and best to warn the employee 
 the first time he transgresses this rule, and dis- 
 charge him for the second infraction thereof. 
 
 The entire crew should be required to work in 
 perfect harmony, under the general supervision 
 of the stage-manager, who should so conduct 
 himself as to command and hold their respect. 
 
 Graft in any department should be sternly 
 
 166 
 
discouraged, and it is advisable that both man- 
 ager and stage-manager exercise every precau- 
 tion to prevent its practice as destructive in 
 part of the efficiency of the crew. Gambling, 
 crap-shooting, etc., should not be permitted on 
 or about the stage at any time. 
 
 The stage crew should be drilled in the use 
 of the fire-extinguishing apparatus; each mem- 
 ber should be assigned to a specific duty and 
 station in case of fire, and to make sure that 
 these are clearly understood, periodical drills 
 should be held. 
 
 The Stagb-^Ianager 
 
 This is the employee in direct and responsible 
 charge of the stage, its crew and workings; is 
 oft times the "go-between" for the artist and 
 manager in settling little difficulties or disputes, 
 and frequently the smooth and harmonious run- 
 ning of the bill will depend upon his tact and 
 diplomacy in handling these minor arguments. 
 He must not be arrogant or overbearing, or 
 inclined to loud or boisterous ways. If there 
 is the slightest doubt as to the course to pursue 
 in event of disagreement with an act, he should 
 defer making a decision until he is able to com- 
 municate with the manager, and then impart the 
 
 167 
 
result of his conference or instructions in a 
 courteous but firm manner. Let the impres- 
 sion be given that the effort is to arrive at fair 
 and equitable conclusions, having in mind what 
 will be best for the entire bill and the theatre, 
 rather than the favoring of some special or 
 headline act. 
 
 He should see that the stage and its sur- 
 roundings are kept clean, not indifferently so, 
 but thoroughly. It behooves him to be alive to 
 fire risks in every possible connection and 
 to be alert in protecting the interests of the 
 theatre by eliminating customs or conditions 
 which might cause personal injuries. As an 
 illustration: Recently, in a vaudeville theatre, 
 the flyman, climbing the ladder to the gallery, 
 fell from a considerable height to the stage and 
 was seriously injured. He fell because a hand- 
 hold on the ladder pulled off. The ladder had 
 been used every day for several seasons. It 
 was generally known about the stage that it was 
 pretty well worn, but the stage-manager had 
 not taken enough interest in the matter to in- 
 spect it and make sure it was safe. Many 
 instances of a similar nature could be cited; of 
 worn ropes giving way and dropping weights, 
 border lights, etc., cleaners and others falling 
 from worn and defective stepladders, faulty 
 
 168 
 
and poorly-lighted stairways causing tumbles, 
 etc. Suffice it to say that such incidents are 
 often very expensive, and that most of them 
 can be prevented by wide-awake, alert inspec- 
 tion, with proper action, before an accident 
 
 OCCURS. 
 
 It should be borne in mind that though em- 
 ployer's and public liability insurance policies 
 apparently protect against loss in connection 
 with personal injuries sustained in and about 
 the theatre, the policy probably provides, and 
 the courts are likely to hold, that it is the man- 
 agement's duty to exercise due diligence in 
 maintaining premises and equipment in a rea- 
 sonably safe condition. 
 
 There can be no slacking of the stage-man- 
 ager's diligence — it must be constant to be prop- 
 erl}'' effective and to maintain continuously high 
 efficiency in all departments of the stage work. 
 He should be watchful that lighting and elec- 
 trical effects are properly handled; that elec- 
 tricity is not wastefully used, lamps or properties 
 carelessly broken, etc. He should be sternly 
 insistent that all his subordinates perform their 
 duties properly and loyally, and not hesitate 
 to discipline them when they fail to do so; but 
 he should never shout his orders so loudly that 
 they can be heard by patrons in the auditorium. 
 
 169 
 
Let it be clearly understood that since he has 
 under his supervision and direction the heads of 
 the various stage departments and looks to them 
 for efficient service therein, it is to him that the 
 manager will look for an explanation of short- 
 comings or any stage work improperly done 
 and that an effort seeking to shift the blame 
 to a sub-department head will not, under any 
 circumstances, be satisfactory. If it is appar- 
 ent to the stage-manager that he has an incom- 
 petent man in any department, it behooves him, 
 with the consent of the manager, to replace that 
 man with a competent one. 
 
 As a general proposition, the manager should 
 transmit important instructions, notices of 
 change in programs, and general orders, in 
 writing to the stage-manager, retaining a car- 
 bon copy thereof. There will be many times 
 when this will avoid a subsequent disagreement 
 as to just what was said or was to be done. 
 
 The stage-manager should bear in mind that 
 the headliner cannot give the whole show — that 
 the opening act is entitled to and should receive 
 the same courteous and complete attention to 
 his needs as that given any other on the bill. 
 It should be his custom to see that, so far as 
 practicable, the reasonable requests of all artists 
 for props, settings, etc., are complied with. He 
 
 170 
 
should remember that the artist has probably 
 been doing the same act for some time, has 
 very likely made a close study of the effect 
 upon it of the use of certain types of settings, 
 props, lighting, etc., and presumably knows 
 better than anyone else just what is required. 
 
 It is almost needless to say that the stage- 
 manager should be on duty early and late — 
 that is, from the time he "goes in" until the 
 show is over. He should be the last to leave 
 the stage. Let him see that the stage is cleared, 
 props taken care of, and stage lights reduced 
 to pilot lights at switchboard and night light 
 before leaving the theatre. 
 
 Careful thought should be given to the selec- 
 tion and training of the man who is to occupy 
 the important position of stage-manager. 
 
 The Electrician 
 
 An indifferent mechanic in this department, 
 one of the "let it go at that" type, will not do. 
 Electricity, handled properly, is almost infal- 
 lible; handled otherwise, it is subject to freak- 
 ish, unexpected and disconcerting "stunts." It 
 starts fires, blows out fuses, burns up lamps, 
 shocks people and causes much damage if it is 
 not controlled by one who knows how to han- 
 
 171 
 
die it. It is alert and alive, quick as lightning 
 — and it takes just that type of individual to 
 control it. 
 
 The electrician, by careful attention to pre- 
 venting wastage of current, breakage of lamps; 
 by guarding against "grounds," short-circuits; 
 by proper fusing and the making of secure, de- 
 pendable connections, can save more than his 
 salary every week. A ground or a short-circuit 
 may blow out main or other fuses, put the house 
 and stage in darkness, and ruin an act or a whole 
 show. 
 
 It behooves the electrician to look carefully 
 and constantly to his stock on hand and the 
 condition of cables, connectors, sockets, plugs, 
 plugging boxes, spot, bunch, flood, strip and 
 other lights, fuses, switches, dimmers and all 
 other electrical apparatus, including borders 
 and footlights. Sufficient fuses of all sizes used 
 in the theatre for emergencies should be kept 
 on hand always; not stored in some inacces- 
 sible place, but instantly available. Color- 
 frames, colorine, gelatines, cables and such 
 equipment should be maintained in strictly 
 first-class workable condition, with stocks on 
 hand sufficient to care for emergencies. 
 
 The electrician should be provided with a 
 suitable room with adequate shelf space, for the 
 
 172 
 
storing of his materials under lock and key. 
 Issues to or purchases by him of such material 
 should be carefully recorded and checked by 
 the management. When he wishes a carton of 
 globes purchased, he should have a carton 
 of burnt-out or broken ones to turn in for it, 
 and this rule should apply with fuses and other 
 equipment. 
 
 Bunch, strip, spot and such lights, when not 
 in use, should be stored in an accessible place, 
 but not where they will be knocked over and 
 broken by shifting scenery, etc. 
 
 The electrician should know how to read 
 meters and calculate the amoimt in dollars and 
 cents of the current used. He should make his 
 readings at the same time as the representative 
 of the electrical company, and should turn in 
 to the manager a written slip showing the 
 figures and amount. He should be required to 
 explain any unusual fluctuation in the amount 
 of current used. 
 
 The switchboard should be equipped with a 
 chemical fire-extinguisher of the type approved 
 for use in case of electrical fires, and a sub- 
 stantial electric flashlight. 
 
 There is no more important station back stage 
 than at the switchboard, and the electrician, 
 during hours of performance, should be there 
 
 173 
 
constantly. He should not, ever, when an act 
 has gone on to "set" for twenty minutes or so, 
 hie himself to the stage door for a "gab-fest," or 
 isolate himself in the store-room, or otherwise so 
 conceal himself that in an emergency it would 
 take a Sherlock Holmes to discover his where- 
 abouts; he should be right at the switchboard, 
 prepared and equipped to handle any situation 
 that may arise with reference to the electrical 
 equipment. Just bear in mind that a blown fuse, 
 a dark house, and a slight delay in getting con- 
 ditions remedied may result in a panic out front. 
 At rehearsals he should be sure he imder- 
 stands cues correctly, and to eliminate subse- 
 quent argument, should either require the artist 
 to give them to him in writing, or make a writ- 
 ten record of them himself and require the artist 
 to "O. K." it. He should understand that he is 
 not merely a mechanic, but that he is part and 
 parcel of the show itself; apart from a real dis- 
 aster, no one back stage can do more harm to 
 an act than can a negligent, careless individual 
 in charge of the destinies of the switchboard. 
 
 The Property-Man 
 
 "Resourcefulness" should be the middle name 
 of the individual who is competent to occupy the 
 
 174 
 
position of propertj'-man in a theatre. There 
 are other important qualifications, but this one 
 is essential. He may be called upon to supply 
 anything from an Egyptian mummy to a three 
 week-old child, upon a moment's notice. He 
 must be a bit of a carpenter, something of an 
 artist, a great deal of a diplomat, and he must 
 be "on the job" from the rising of the sun to 
 considerably after the setting thereof — in other 
 words, this is not the place for a lazy or a shift- 
 less man. 
 
 A property-man should have the ability to 
 meet people pleasantly and to make a favorable 
 impression. He should cultivate cordial rela- 
 tions with transfer companies, with the various 
 merchants of the city, and with other persons 
 from whom he is likely to need favors in the way 
 of borrowed properties. He will be faced with 
 the necessity of requesting loans from homes, 
 pawn-shops, museums and other public institu- 
 tions, stores and individuals. He should be able 
 to convey the impression of responsibility — 
 and should live up to it. To a peculiar de- 
 gree, he has the reputation of the theatre in 
 his keeping; it is absolutely essential that he 
 call for properties loaned or rented at the time 
 agreed upon, that he care for such articles most 
 assiduously while they are being used and that 
 
 176 
 
he return them promptly and in the same con- 
 dition as when borrowed. 
 
 Whatever agreement has been made for re- 
 muneration to the lender, whether in the form 
 of passes, money or the patronage of the thea- 
 tre, display in the program or other manner, 
 should be strictly and conscientiously adhered 
 to. If, regardless of the cause, borrowed prop- 
 erties are damaged during their transportation 
 to or from, or use in the theatre, the property- 
 man should not attempt to slip them back to 
 the owner without advising him of the damage. 
 It is best to make a clean breast of it with ap- 
 propriate apologies and a sincere offer to repair 
 the damage or pay for the article — for if the 
 merchants and others know this is the theatre's 
 practice, they will more willingly loan the prop- 
 erty-man the articles he needs. 
 
 The property-man should be allowed a rea- 
 sonable number of passes with which to "square" 
 his borrowings; but he should be required to 
 account carefully for them and be checked by 
 the management upon their use. 
 
 It requires dexterous and intelligent handling 
 of props "on stage" to avoid costly breakage 
 and damage. A few suggestions tending to 
 the prcA^ention of this are: Remove pictures 
 from scenery, bric-a-brac from mantels and ta- 
 
 176 
 
bles, floor-lamps, desk-lamps, etc., "into clear" 
 BEFORE the setting is struck. Then as the 
 set is struck and openings made, remove tables, 
 chairs, lounges, pianos, and the heavier stuff; 
 and in placing or storing props and furniture 
 against walls or packs, take care to avoid put- 
 ting them in the way of stuff to be quickly 
 handled into the next set. Fragile articles, such 
 as vases, clocks, bric-a-brac, etc., should be im- 
 mediately stored in the property-room, in their 
 proper places, and not left about the stage, on 
 tables, etc., to be knocked over and broken. As 
 soon as the set is finished, furniture and like 
 props left on the stage against walls, etc., should 
 be covered with heavy unbleached muslin sheets 
 or coverings, of which foiu* or five, ranging in 
 size from 12 feet by 12 feet to 12 feet by 20 feet, 
 should be furnished the property department. 
 Xumber each of these prop covers consecutively 
 in large black figiu'es, to prevent their being torn 
 up for cleaning rags and to aid in checking this 
 department when inventories are made. Proper 
 use of these coverings will save paying for re- 
 finishing many a scratched table, piano or chair. 
 The customary upright-piano used by vaude- 
 ville acts in "one" is generally a disgraceful- 
 looking affair. Five minutes spent daily on 
 this, with an oil-dampened rag, will keep it 
 
 177 
 
bright and new-looking despite the rough hand- 
 ling it of necessity receives; there is no excuse 
 for flaunting in the face of an audience the 
 marred, scratched, dull-looking instrument that 
 is so often rolled out on a dark change. This 
 simple suggestion means not only increased life 
 for the instrument, but also materially enhances 
 exchange and selling value, or, if borrowed, 
 minimizes complaint when the instrument is re- 
 turned to the dealer. Most first-class theatres 
 now-a-days are equipped with ball-bearing roller 
 piano trucks in which their pianos are handled, 
 and houses which do not possess such are urged 
 to get one for each instrument handled on the 
 stage. They can either be made by the car- 
 penter, or seciu'ed through the piano dealer at 
 moderate cost; equipped with extra large ball- 
 bearing casters, they are moved with the great- 
 est ease and control even when loaded with the 
 heaviest instruments. 
 
 All stage-carpets and medallions should have 
 2-inch galvanized iron rings sewed half-way 
 into and along one side of same, one foot apart, 
 reinforced with 3-inch webbing, or attached 
 with leather tabs so they will be very secure. A 
 batten should be provided for each of the car- 
 pets or medallions, with 2-inch open screw 
 hooks one foot apart. The rings at the side 
 
 178 
 
of the carpet readily and quickly fasten over 
 hooks in the batten and the carpet can be 
 quickly flied. This avoids rolling or folding 
 these, keeps them cleaner and adds years to 
 their life. 
 
 Small rugs, portieres, draperies, lace cur- 
 tains, etc., should be hung over poles in a spe- 
 cial part of the property-room or in a separate, 
 dust-proof place, set aside as the rug and 
 drapery room. In this same room, adequately 
 Made, clean shelves should be available for stor- 
 ing sofa pillows, scarfs and small draperies. 
 
 The property-room holds much of the ma- 
 terial necessary for making the stage picture 
 attractive, and seldom receives the attention it 
 deserves. It should be as nearly dust-proof as 
 possible, absolutely dry, and kept perfectly clean 
 and orderly. 
 
 Ground-cloths, stage-carpets and rugs should 
 be swept daily, and when placed in any set 
 should be run over with a Bissell "Hotel" size 
 carpet-sweeper. Floor coverings will then look 
 as they should when the curtain goes up, and 
 a bi-weekly vacuum cleaning, if the house has 
 a machine, will lengthen their life and keep 
 them fresh-looking almost indefinitely. 
 
 If, through unusually rough or careless use, an 
 artist damages or wrecks a piece of furniture or 
 
 179 
 
a prop, he should be required to pay for re- 
 pairmg or replacing it, whichever is necessary. 
 As soon as the damage is done, the property- 
 man should make a report to the manager, stat- 
 ing the nature of the injury to the article in 
 question and giving an estimate of the cost of 
 repairing or replacing it. The artist should be 
 notified immediately that this amount will be 
 deducted from his salary, and if any argument 
 results from this, it will take place while all 
 the circumstances are fresh in the minds of those 
 concerned. Promptness in attending to such 
 occurrences w^ill eliminate disputes and probable 
 unpleasantness at the conclusion of the artist's 
 engagement. 
 
 It is customary in many theatres for the 
 property-man to attend to sending out and re- 
 ceiving the laundry for the artists. The writer 
 has found no objection to this custom, which is 
 quite a convenience to the artists, provided that 
 the theatre be not involved in any manner in 
 the case of loss or miscarriage of bundles. The 
 small commission allowed the property-man by 
 the laundry is considered a legitimate per- 
 quisite of the position. It goes without saying 
 that it should not, and in the author's observa- 
 tion it does not, interfere with the proper per- 
 formance of his regular duties. 
 
 180 
 
An accurate inventory should be made of all 
 properties at the beginning of each season, writ- 
 ten up in triplicate, one copy retained by the 
 property-man, one filed with the manager, and 
 one with the accounting officer or department 
 of the proprietor of the theatre. At the end 
 of the season, or once annually if the theatre 
 runs the year around, this should be carefully 
 checked, and all shortages accounted for by 
 manager's memo authorizing discarding, junk- 
 ing, sale or other disposal. Inasmuch as the 
 property-man is held responsible for all of this 
 material, it follows that he should be furnished 
 with adequately secure premises in which to 
 store it. If a property is hopelessly wrecked, 
 or has outlived its usefulness, the matter should 
 be called to the attention of the manager, who, 
 upon personally verifying the condition, should 
 issue a memo in triplicate authorizing the prop- 
 erty-man to make a certain specified disposal 
 of it, and one copy of this memo should be at- 
 tached to each of the original inventories. 
 When during the season a property is pur- 
 chased, a similar memo thereof should be made 
 and filed with each of the inventories. Thus 
 a clear and checkable record is maintained 
 with a minimum of effort, and the system 
 will save the loss, in one way or another, of 
 
 181 
 
many small and inexpensive and probably some 
 costly properties each season. 
 
 The importance of the department presided 
 over by the property-man is sometimes not ade- 
 quately realized by the management; its value 
 will vary according to the intelligence, loyalty 
 and ambition of the individual employed, and 
 according, also, to the amount of co-operation 
 and appreciation which he receives from his 
 employer. 
 
 The Flyman 
 
 In the average theatre, this employee is iso- 
 lated, during the performance, from the rest 
 of the crew. Aloft, unobserved, he must needs 
 be a man who will not take advantage of the 
 fact to indulge in improper practices. He should 
 get his sleep at hours other than those de- 
 voted to work in the theatre; and just because 
 he can "get away" with a smoke, shouldn't 
 try it. 
 
 He should never permit stacks of tangled 
 slack in unused lines to block up the passage- 
 way of his gallery; he should report promptly 
 to the stage-manager or carpenter, lines that do 
 not run freely, squeaky shifts, etc. He should 
 scrutinize lines carefully and report for re- 
 
 182 
 
placing any that are frayed or badly worn; he 
 should observe cables leading to border lights 
 and if they are torn loose from fastenings or 
 damaged in any way, report immediately to 
 the electrician or stage-manager. 
 
 His station during inactivity should be con- 
 venient to the speaking tube and where he can 
 observe the signal light and hear the auxiliary 
 buzzer signal, for a circumstance may arise 
 requiring quick action on his part and much 
 may depend upon it. No one can foretell- the 
 moment this signal may come, hence it is ap- 
 parent that "eternal vigilance is the price of 
 safety." 
 
 He should be provided with a chemical fire- 
 extinguisher and two heavy sharp hand-axes, 
 one located at each end of the gallery and hung 
 on convenient hooks, for use in cutting ropes 
 in case of fire. And at this point let it be said 
 that these are fire-axes, equipment for use in a 
 serious emergency; therefore, they must not 
 be removed, temporarily or otherwise, except 
 for their proper purpose. It is quite the usual 
 thing for the carpenter or some other employee 
 to "borrow" these axes and not return them. 
 This must be guarded against. 
 
 The flyman should sweep out his gallery 
 daily; the same rule as to neatness, elimination 
 
 183 
 
of rubbish, and cleanliness which applies in all 
 other portions of the theatre should govern 
 here. 
 
 It is well to make sure that the flyman does 
 not devote his time while acts are "on" to lit- 
 erary pursuits of the "Diamond Dick" or the 
 "Nick Carter" variety. 
 
 He should be trained to look well to the 
 security of his "tie off" and to take a pride in 
 the efficiency and dependability of his work. 
 It will be w^orth while for the manager to make 
 it a practice to climb up to this seldom-visited 
 place not less often than once a week to look it 
 over, with words of appreciation for real service, 
 correction if needed, or disajjproval of undesir- 
 able conditions. If it is not practicable for the 
 manager to do this personally, he should be sure 
 that his stage-manager does, and reports to him 
 once weekly the conditions obtaining in this im- 
 portant department. 
 
 THE STAGE 
 
 The stage is the actor's workshop and play- 
 ground as well, where he builds his air castles 
 of the present and his plans of the future. It 
 is upon the "boards" that the artist displays his 
 wares, meets with rebuff or receives the greatest 
 
 184 
 
of all rewards that can come to him, the ap- 
 plause of pleased audiences. 
 
 In view of these facts, and for cold-blooded 
 business reasons as well, it pays to make the 
 stage a clean, well-lighted and cheerful work- 
 shop. Walls should be painted white all around 
 to at least the height of the fly-gallery floor, 
 which can be quickly and cheaply done with a 
 spraying machine, using a liquid white com- 
 pound which will not rub off; a strip of flat 
 white should be applied, two coats 2 feet 
 wide, on the floor all around stage, painting 
 across this border at every door or opening onto 
 stage a strip of black the same width as the 
 door or opening. This aids in preventing care- 
 less persons from expectorating behind scenery, 
 along the base of walls or in corners. 
 
 The entire floor of stage, not only the center, 
 but behind switchboards, radiators, and clear to 
 the walls, should be thoroughly swept each 
 morning, and as often during the day as is 
 necessary. The footlight trough, a place where 
 dust and dirt are particularly prone to ac- 
 cumulate, should be cleaned out daily with the 
 house vacuum cleaner, or a strong hand-blower, 
 after which should come a thorough dusting 
 and all lamps wiped clean and bright; this will 
 give better results in stage lighting, the min- 
 
 185 
 
imum of trouble with short-circuits in foot- 
 lights, and a possible reduction in insurance 
 rates of a cent or two per hundred. 
 
 The stage floor and corridors should be thor- 
 oughly scrubbed or mopped with warm water 
 and soap, twice weekly, except in the space 
 between footlight trough and curtain line in 
 one. The apron should be laid in clear, well- 
 seasoned maple or other hardwood; and it 
 should be kept in condition by a daily rub with 
 a rag permeated with a mixture made of three 
 parts turpentine and one part boiled linseed oil. 
 The footlight trough and hardwood apron 
 should be covered with a tarpaulin at all times 
 except when show is on. This will keep the 
 apron smooth and polished, and prevent break- 
 age of footlight globes during rehearsals, etc. 
 
 The general cleanliness of the stage is an im- 
 portant matter; if rubbish is allowed to ac- 
 cumulate in corners and behind radiators, etc., 
 in time it may cause the destruction of the 
 theatre by fire, and there is no middle ground 
 between cleanliness and uncleanliness. A slov- 
 enly-kept stage foreshadows shiftless work in 
 other departments and lack of attention to de- 
 tails. 
 
 The reader may think that undue stress has 
 been laid upon some details — for instance, the 
 
 186 
 
advice to use warm water in scrubbing. Never- 
 theless, warm water dries out quicker than cold, 
 is not so likely to warp or injure the boards, 
 adds wonderfully to the cleansing power of the 
 soap, and is just as easy to obtain as cold 
 water, if one really wishes to do the best work. 
 The question may occur: Why be so par- 
 ticular about the hardwood apron? Because, 
 first: a hardwood apron is expensive; it will 
 last a season or a theatrical lifetime, according 
 to the care it receives. Second: a real dancing 
 floor will materially improve the work of a 
 dancing act, and every vaudeville house will 
 have many of these. Third: nothing worth do- 
 ing at all deserves to be half-done. To go into 
 the detail of explaining just why it is advised 
 that things be done thus and so would involve 
 unnecessary writing and reading; suffice it to 
 say at this point that there have been and will 
 be no suggestions of a theoretical nature made; 
 none that is unpractical, and none but those 
 which have actually proved their economic and 
 artistic value in actual practice, in both large 
 and small theatres. 
 
 The stage (at any time during the hours of 
 the performance, under any circumstances) 
 should never be a gathering place for "town 
 folks," "city friends of the artists," "purveyors 
 
 187 
 
of wares," "mashers," or for any but tliose 
 whose duties require them to be there. In 
 the first place, visitors are in the way and im- 
 pede the work of the crew; in the second place, 
 their presence tends to lower the dignity, de- 
 stroy the illusion and demean the prestige of 
 the stage; for remember, it is the "masher" and 
 other behind-the-scenes visitors who have car- 
 ried to the w^orld the garbled tales that have 
 reflected discredit upon the people of the thea- 
 tre; and in the third place, a sand-bag, coun- 
 ter-weight, or piece of scenery dropped on a 
 visitor who is on the stage with the manager's 
 knowledge and consent is likely to net a trou- 
 blesome and expensive lawsuit. 
 
 Instructions to the stage-manager, and 
 through him to every employee of the stage, 
 should be positive on this point, even to the ex- 
 tent of forbidding the flyman to have a helper 
 who works for nothing "to see the show" — which 
 is a common practice in some houses. Of course, 
 if a back-doorman is employed, these instruc- 
 tions should be his guiding rule. 
 
 Artists should be forbidden to stand in the 
 wings or pull back the drop in "one" to see the 
 show; they should stay off stage until it is time 
 to go on for their act, and when finished should 
 go to theii* dressing-rooms. There are the same 
 
 188 
 
reasons for this rule as for forbidding visitors 
 on the stage, and it is one that should be en- 
 forced. A sign on the back of the tormentors 
 is considered advisable in many theatres, warn- 
 ing acts of this rule. 
 
 The manager personally should visit the stage 
 at least once during every performance. If 
 he does this, and the crew knows it to be his 
 habit, things will be done that otherwise are 
 likely not to be. 
 
 Stage Equipment 
 
 Hardware. Emphasis is laid upon the neces- 
 sity for thorough equipment for the stage, both 
 as to hardware and properties, for if this is not 
 complete the proper presentation of shows will 
 often be seriously handicapped. Make-shifts 
 should not be resorted to except in extreme 
 cases; in these days there is a proper tool, ap- 
 pliance or property available for almost every 
 practical requirement, and such should be pro- 
 vided. 
 
 The list submitted of essential scenic, property 
 and hardware equipment is naturally subject to 
 such variation as local conditions warrant, but 
 as made up is intended to fit the needs of a 
 first-class vaudeville theatre, after the frame 
 
 189 
 
stuff is all complete and delivered from the 
 studio. 
 
 QUANTTTT 
 
 3 
 
 dozen 
 
 1 
 
 dozen 
 
 4 
 
 sets 
 
 1 
 
 dozen 
 
 1 
 
 dozen 
 
 10 
 
 pounds 
 
 10 
 
 dozen 
 
 1 
 
 dozen 
 
 2 
 
 dozen 
 
 5 
 
 dozen 
 
 7 
 
 dozen 
 
 4 
 
 
 Necessary 
 
 HARDWARE 
 
 ARTICLE 
 
 Stage screws. 
 
 Pairs hinges, hook pins, back-flap, li/^"x8j^". 
 
 Door knobs and plates, 2 each, different designs. 
 
 Pairs curtain-pole sockets, heavy brass. 
 
 Hangers, picture frame. 
 
 Nails, clout, 11/^". 
 
 Carpet pins 
 
 Lashing cleats. 
 
 Stage braces, extension from 2' to 8', closed. 
 
 Profile corner blocks. 
 
 Profile keystones. 
 
 Profile boards, old-time scrimmed. 
 
 Head blocks, sheaves, curtain lead blocks, tension 
 pulleys, belaying pins, trims, clamps, sand-bags, 
 etc. The requisition for this equipment should be 
 made for the hanging stuff. Include in this order 
 sufficient 3/^" wire messenger cable for border 
 lights and ^" hemp or sisal rope for other lines. 
 
 PROPERTIES 
 
 QUANTITY ARTICLE 
 
 1 White mantel for light interiors. 
 
 1 Dark mantel for dark interiors. 
 
 1 Mantel painted into interior set. These mantels 
 
 should be made by the house carpenter of heavier 
 
 design than the conventional residence mantel; 
 
 should sit on low platforms and be mounted on 
 
 heavy ball-bearing casters. 
 Book cases (false fronts), finished to match dark 
 
 set; one 5' wide by 6' high, and one 6'9" wide 
 
 by 4'6" high. 
 Chairs, kitchen. 
 Table, kitclicn, to be made by stage carpenter, 
 
 strongly braced and bolted, in the following sizes: 
 
 3'6", 3', 2'6". These will be used by acrobatic 
 
 and other acts, and should be of very durable 
 
 construction. 
 Wood pedestals, and 1 pair tabourets, each pair to 
 
 be of finish and design harmonizing with parlor 
 
 or interior sets. 
 
 190 
 
QCANTITT ARTICLE 
 
 1 set Parlor furniture, upholstered in a subdued color 
 
 with narrow striped velour or cotton velvet. This 
 set should be in one particular design, and con- 
 sist of divan or settee, two large arm chairs, two 
 small chairs, and one large and one small stand 
 or table. 
 
 1 set Parlor furniture, same number of pieces, but of 
 
 different design, upholstered or covered with dark 
 figured imported tapestry. 
 
 1 set Wicker furniture, finished in light brown or ivory, 
 
 covered with neutral shade of cretonne. This set 
 should include a writing table or desk, and stand- 
 ing floor lamp. 
 
 1 set Wicker or rustic, strongly made, finished in light 
 
 or pea green, consisting of round table with um- 
 brella canopy, one small stand, bench seat and 
 three or four chairs. 
 
 3 or 4 sets Portieres, sufficient pairs of each color and design 
 to hang at all openings in each interior set ex- 
 cept at small doors. These should hang on lj4" 
 hardwood poles and be hung with large, easy-rid- 
 ing brass rings. Poles and rings should be hidden 
 from view by valance of same material as por- 
 tieres, and of a depth to equalize or balance 
 height of openings. The following colors are sug- 
 gested for these sets of portieres: old-gold, light 
 blue, old-rose, mahogany or narrow-striped mul- 
 berry, being sure that shade of hangings harmon- 
 izes with color scheme of the scenery, and shades 
 of carpets and furniture coverings. 
 
 1 Rug, 9'xl2' or 12'xl5' (depending upon size of 
 
 stage), of Chinese or Persian design, with dark 
 shaded background. 
 
 6 Rugs, small, in three dififerent sizes, Persian designs 
 
 and of color that will harmonize with large rug 
 and other stage carpets. 
 Carpet, gray or old-gold, large enough to cover at 
 least 21 feet back of first entrance of "one" and 4 
 feet wider than proscenium opening. Avoid bright 
 red and light green; stick to the quiet, rich, but 
 light tones. 
 
 1 Strip Or "runner" of carpet one yard wide and long 
 
 enough to cover entire width of stage to within 
 two feet of proscenium arch on each side. This 
 for the use of dressing, singing and such acts in 
 "one," and should be of same shade as the velvet 
 or velour drop if the house is equipped with one. 
 Blue, royal purple or mulberry make very desir- 
 
 191 
 
QtrANTlTT AHTICLE 
 
 able colors for this use. Bright greens and reds 
 should be avoided. This strip should be placed on 
 stage when to be used, by the property-man or 
 assistant, in uniform, during dark change. Should 
 be kept rolled, not folded, as in the former shape 
 it can be more quickly placed on stage and un- 
 rolled. 
 
 1 Baize or stage-carpet, brown one side, green other 
 
 side, preferably of "James Clancy" make; same 
 width as stage carpets and deep enough to cover 
 stage from "one" to back wall. Should have rings, 
 one foot apart, sewed securely half way in along 
 up-stage edge of baize, reinforced with webbing. 
 This allows the baize to be quickly flied by attach- 
 ing to screw hooks in batten, keeping baize off 
 stage and cleaner, when not in use. 
 
 1 Ground cloth of waterproof 12-ounce canvas, same 
 
 width as stage-carpets and of sufficient depth, 
 with grommets around all four sides. 
 
 6 Sofa pillows, different sizes and designs, in neutral 
 
 shades. 
 
 1 Lot of assorted tapestry, amure and silk throws for 
 
 draping in interior sets. 
 
 4 Assorted stand covers of same materials and 
 
 shades. 
 
 1 Lot artificial flowers, best makes, in subdued colors. 
 
 1 Lot assorted vases in rich and unique designs. 
 
 1 Lot of statuary, bric-a-brac of distinct design and 
 
 coloring, and good grade of ware. 
 
 1 Set each, plain linen and cretonne furniture cov- 
 
 ers, to fit and cover each piece of all interior sets. 
 
 1 Lot heavy unbleached muslin sheets, 12'xl2' and 
 
 12'x20', to cover all furniture, mantels and 
 props while on stage and not in actual use. 
 
 1 Lot grass mats, about 36", assorted sizes. 
 
 2 Pianos, one grand and one upright, in pitch with 
 
 orchestra, and to be moved about on ball-bearing 
 trucks, and when not in use to be covered with 
 rubber, canton-flannel lined covers. 
 
 A first-class vaudeville theatre should own 
 this list of properties, furniture, carpets and 
 drapery, when opening. There will be many 
 props called for from week to week which are 
 
 192 
 
not on this list, and will have to be borrowed. 
 While it is better to be a good "borrower" than 
 an extravagant buyer, it will be found much 
 easier and cheaper in the long run to fill the 
 usual weekly wants with the equipment listed, 
 than to trv to "get bv" with less. 
 
 O" 
 
 Scenery 
 
 The scenic equipment for a first-class vaude- 
 ville house is given in the following tabulated 
 list, measurements based upon a stage 80 feet 
 wide, 40 feet deep with opening 30 feet high 
 and 36 feet wdde. 
 
 1 Asbestos Curtain. 
 
 1 Act Curtain. 
 
 1 Grand Drapery Border 16'x42' 
 
 1 Working Drapery Border 6'x32 
 
 2 Tormentors '. 8'xl8 
 
 2 Tormentor Flippers 4'xl8 
 
 1 LIGHT MODERN INTERIOR, consisting of 
 
 1 Center Door-piece, opening G'x9' 12'xl6 
 
 2 Side Arches, openings 6'x8' 8'xl6 
 
 2 Door Wings, doors 3'x7' 6'xl6 
 
 4 Plain Wings 6'xl6 
 
 1 Window Wing (French) 6'xl6 
 
 1 Fireplace Wing 6'xl6 
 
 2 Jogs 8'xl6 
 
 2 Jogs 2'xI6 
 
 1 LIGHT ITALIAN INTERIOR, consisting of 
 
 1 Center Door-piece 12'xl6 
 
 2 Side Arches, openings 5'x8' 8'xl6 
 
 2 Door Wings, doors 3'x7' 6x16 
 
 4 Plain Wings 6'xl6' 
 
 1 Window Wing (French) 6'xl6 
 
 1 Fireplace Wing 6'xl6 
 
 2 Jogs 3'xl6 
 
 2 Jogs 2'xl6 
 
 193 
 
1 LIBRARY INTERIOR, consisting of 
 
 1 Center Door-piece 12'xl6' 
 
 2 Side Arches 8'xl6' 
 
 2 Door Wings 6'xl6' 
 
 4 Plain Wings 6'xl6' 
 
 1 Window Wing (French) 6'xl6' 
 
 1 Fireplace Wing 6'xl6' 
 
 2 Jogs 8'xl6' 
 
 2 Jogs 2'xl6' 
 
 1 OAK OFFICE INTERIOR, consisting of 
 
 1 Center Door-piece 12'xl6' 
 
 2 Door Wings 6'xl6' 
 
 4 Plain Wings 6'xl6' 
 
 1 Window Wing (French) 6'xl6' 
 
 1 Fireplace Wing 6'xl6' 
 
 2 Jogs 8'xl6' 
 
 2 Jogs 2'xl6' 
 
 1 PLAIN CHAMBER and KITCHEN SET COMBINED, con- 
 sisting of 
 
 3 Door Wings 6'xl6' 
 
 4 Plain Wings 6'xl6' 
 
 1 Window Wing 6'xl6' 
 
 1 Fireplace Wing 6'xl6' 
 
 2 Jogs 8'xl6' 
 
 2 Jogs 2'xl6' 
 
 1 PALACE SET, consisting of 
 
 3 Palace Leg Drops, Palace Backing and Balustrades. 
 1 Velvet Drop. 
 
 1 Street Drop. 
 
 1 Olio Drop (Interior) 24'x82' 
 
 1 Garden Drop 24'x32' 
 
 1 Wood Drop 24'x32' 
 
 1 Landscape Drop 24'x32' 
 
 1 Picture Sheet 24'x32' 
 
 8 Combination Wood and Garden Wings 6'xl6' 
 
 With Flippers attached 4'xl6' 
 
 4 Foliage Borders 18', 15', 12', 9'x40' 
 
 3 Light Fancy Borders 8'x36' 
 
 3 Dark Fancy Borders 8'x36' 
 
 3 Plain Borders 8'x36' 
 
 1 Hanging Hall Backing 82'xl6' 
 
 4 Wood Backings 12'xl2' 
 
 4 Interior Backings (light) 12'xl2' 
 
 4 Interior Backings (dark) 12'xl2' 
 
 2 Fireplace Backings of different designs. 
 1 SET HOUSE and RETURN. 
 
 1 SET COTTAGE and RETURN. 
 
 iP4 
 
Specifications 
 
 Asbestos curtain to be of proper weight and 
 thickness as prescribed by fire laws or build- 
 ing codes and in any event weighing not less 
 than 2 pounds to the square foot. 
 
 The drop curtain shoidd be painted on best 
 quality linen canvas; or a velour curtain may 
 be used. All wings, doors and set pieces that 
 are mounted on framework to be painted on 
 heavy cotton. Drop scenes and borders to be 
 painted on heavy cotton cloth same weight as 
 "Indian Head."^ 
 
 Pai7itings and Colors. The entire painting 
 to be done in a first-class manner throughout. 
 All work to be executed by skilled artists as 
 per designs and color schemes shown and 
 passed on. Only best grade, durable colors and 
 materials to be used. 
 
 Framework. All framework to be made of 
 good, clear, dry, well-seasoned white pine lum- 
 ber of appropriate dimensions, put together by 
 mortise and tenon with all needed toggle rails 
 and angle braces properly clout-nailed and 
 joined in best approved manner. All wings 
 
 195 
 
requiring profile to be supplied with same 
 properly scrinimed. 
 
 , Battens for drop curtains, drop scenes and 
 borders to be of best quality dry white pine, 
 surfaced with rounded edges. 
 
 Hardware. All doors and windows to be pro- 
 vided with needed hinges, door buttons, fiat 
 cleats, lashing cleats, threshold irons, batten 
 plates, etc. 
 
 Sets and Settings 
 
 With retrospective eye, look back over the 
 shows you have seen, vaudeville and otherwise, 
 and endeavor to analyze just how vital a part 
 the stage appointments, settings and dressing 
 played in making them either "great," "good," 
 fair, or poor. 
 
 The stage establishes an illusion: the audience 
 sits in a semi-darkened auditorium to see, feel 
 and have created for it conditions which in- 
 spire grief, excitement, mirth and other emo- 
 tions. It follows that unless there is a max- 
 imum of the "atmosphere" tending to convey 
 the desired impression, the illusion will fall short 
 of its intent. 
 
 196 
 
How inconsistent, then, are cheap and tawdry 
 settings where the idea is to create an at- 
 mosphere of refinement and elegance. How out 
 of keeping with the intent of a rapid-fire sing- 
 ing, talking and comedy act is a dim or in- 
 sufficiently lighted stage. What a short-sighted 
 policy it is that permits the use of the same set 
 of furniture and properties for practically every 
 playlet that is presented in a vaudeville theatre. 
 Conceive how ridiculous it must seem to the in- 
 telligent audience for a theatre to present a 
 famous artist, perhaps "in one," backed by the 
 same drop which earlier has backed an 
 acrobatic "turn." There is, perhaps, no fea- 
 ture connected with vaudeville in the average 
 theatre, which deserves more attention, or in 
 which there is more room for improvement. 
 
 Shakespeare said: "The play's the thing," 
 and though this was many years ago, the dec- 
 ades that have passed have proved him right 
 in the superlative degree. It matters not that 
 the theatre may be absolutely modern, com- 
 fortable, well-lighted, ventilated and heated; 
 it matters not that your staff is all that could 
 be desired; unless the show is "there," all these 
 other things will not pull dollars into the box- 
 office. In the final analysis it will be the show 
 that will get the money. All other features 
 
 197 
 
of operation, all thoughtful courtesies and prac- 
 tices, are but preliminaries; their purpose is to 
 instill into the patron a feeling of^ friendliness 
 and satisfaction which will put him in a mental 
 attitude of greatest receptivity; which will leave 
 his mind encumbered by no angry or hin-t re- 
 membrance of things gone wrong in the proc- 
 ess of purchasing his tickets and getting into 
 the theatre and to his seat — which will leave 
 him free to sit back in comfort and enter into 
 the spirit of the show. 
 
 Therefore, let us consider with proper ap- 
 preciation of its importance, the matter of pro- 
 viding our show with the suitable sets, settings 
 and "atmosphere." 
 
 In the first place, let it be said that too often 
 this matter receives but routine, and at best, 
 indifferent attention from the house manager. 
 In the usual course he receives the "plots" from 
 the artist or from his booking office. For the 
 uninformed, it should be said that these plots, 
 as a general proposition, give the following in- 
 formation : 
 
 NAME OF THE ACT AND ITS BILLING. 
 NUMBER OF PEOPLE IN THE ACT (men, WOmCU) . 
 NUMBER OF DRESSING-ROOMS REQUIRED. 
 TIME OF ACT. 
 
 198 
 
Scene Plot. Advising if act works in "one," 
 "two," "three," "full stage," etc. If opens in 
 "one" and closes "two" or full, or vice versa, 
 number of minutes in each position. Number 
 of lines required and location. What scenery 
 and drops, etc., carried. What house scenery, 
 drops, etc., required. 
 
 Prop Plot. Specifying what "properties," 
 not carried by the act, should be secured by 
 house property-man. These should be ready, 
 on stage, on arrival of act. It is pertinent here 
 to say that acts do not call for props with the 
 idea of making unusual or unnecessary work 
 for the property-man, but because they want 
 the props for use in their act, and these should 
 be secured. 
 
 Light Plot. Specifying electrical and other 
 effects desired for illuminating the act. 
 
 Publicity Plot. Most booking offices now 
 make it a practice to furnish their clients with 
 publicity and press matter concerning the acts 
 booked. As this often contains either excerpts 
 from or entire reviews as published by the press 
 it is generally quite descriptive of the act, and 
 forms a somewhat dependable means, in the ab- 
 
 199 
 
sence of other information, of giving the man- 
 ager an accurate idea of just what the act is. 
 
 When these plots are received they should be 
 the occasion for a three-cornered conference -by 
 the manager, stage-manager and property-man. 
 If the electrical plot is unusual, the electrician 
 should be a party to this conference, as should 
 any other employee whose department may be 
 called upon for unusual effort in connection 
 with a particular show or act. 
 
 A conscientious, earnest effort should be made 
 to study out a routine of settings and sets that 
 will provide the individual acts and the entire 
 show with appropriate surroundings; plan to 
 avoid waits (where sometimes two full stage 
 acts follow), and to present the show in a man- 
 ner which will, so far as the sets and settings 
 are concerned, impress audiences favorably. 
 There is such a thing, in actual practice, as get- 
 ting better work out of the artist by giving him 
 a setting and surroundings that inspire him to 
 do his best. 
 
 The Stage Setting. The setting of the stage 
 seldom receives from the property department 
 a maximum of intelligent thought and atten- 
 tion. Consistency in this department is in- 
 deed a jewel, and as has been suggested before, 
 
 200 
 
it is unreasonable to expect an intelligent audi- 
 ence (and these days audiences are pretty wise) 
 to give serious thought or approval to a play- 
 let offered in a setting equipped with broken- 
 down, dilapidated and dingy fin*nishings when 
 the synopsis indicates that the action takes place 
 in a palatial residence. And the hump-backed, 
 broken lounge, or the rickety chair or table has 
 too often caused things to occur in an act which 
 were never designated as "business" in the 
 script. 
 
 Therefore, see to it that the props are in 
 keeping with the intent of the action. A has 
 the old decrepit and funny-looking imitation- 
 marble clock on the dirty, dingy mantel; away 
 with the ancient chromo in the dusty, dull and 
 nicked frame; abolish the venerable, time-worn, 
 discouraged artificial palms that have for so 
 long occupied posts of honor perched atop the 
 soiled and ancient pedestals, where, even to the 
 hundredth time, the audiences look at them again 
 and again; junk the dejected, lifeless old imita- 
 tion-leather lounge with the fringe of hair pro- 
 truding from broken places in its upholstering; 
 scrap the gangly-legged chair, the dirty table- 
 cloth, and all such things. Replace them, 
 either by purchase or by a borrowing arrange- 
 ment with a real furniture store, and the 
 
 201 
 
money, effort and trouble thus expended will 
 be amply repaid to you through the box-office. 
 Paint the tabourets, pedestals, mantels and such 
 fixtures; brighten up the statuettes with a coat 
 of paint or varnish; send the portieres to the 
 cleaner, and generally refresh things, and then 
 KEEP THEM SO. Do not permit attention to this 
 feature of your shows to relax a moment. 
 
 Care should be taken that all furniture is 
 thoroughly wiped before being placed in the 
 set ; the front row audience can see dust and dirt. 
 Artificial flowers of the better quality, in real 
 vases and displayed with good taste and in not 
 undue profusion, add much to the general ef- 
 fect. 
 
 Choose picture frames with an idea — not to 
 their cheapness, but to their actual utility as one 
 of the features of the "stage picture." 
 
 Hangings in good taste, blending in harmony 
 with the general color scheme, offer an oppor- 
 tunity for pleasing embellishment. 
 
 If acts working "in one" and using a grand 
 piano call for a setting, furnish it in good taste, 
 using piano lamp, settee, floor flower-stand, flow- 
 ers, etc. 
 
 Change, add to and keep alive the stock of 
 bric-a-brac, and when placing it in sets see that 
 
 202 
 
good judgment is exercised. Strive for the ul- 
 timate in good taste. 
 
 In hanging of portieres, a valance should be 
 used, covering the pole and top of arch. Three 
 or four complete sets of portieres, with valances 
 to match, should be part of the stage equip- 
 ment. Valances, pleated and plain, with or 
 without galoon braid, are all attractive, and this 
 variety should be on hand. The customary red 
 and green hangings should be avoided; the new 
 shades of blue, mulberry, old-rose, old-gold, ma- 
 roon and royal purple in the newer fabrics are 
 well worth their cost when investing in portieres. 
 
 Observe carefully that there is harmony in 
 the color scheme of the scenery, carpets and 
 draperies; avoid the rather frequently encoun- 
 tered combination of a green carpet, red up- 
 holstered furniture, old-rose hangings and per- 
 haps a blue rug or tw^o. 
 
 Observe this point also as to furniture: never 
 set an interior, for instance, with a mahogany 
 piano, white enamelled tabourets, oak table and 
 mission settee. If part in mission, then all so. 
 If part mahogany, then all so, except for va- 
 riations that are in good taste. If a set is in 
 Louis XV, or Jacobean or Colonial, or any 
 other special or period furniture, stick to it 
 consistently for that particular set. And, in 
 
 203 
 
this connection, do not set a sketch the plot of 
 which indicates action taking place in the winter, 
 with curtains and drapes of light and airy cre- 
 tonne. 
 
 It is often the case that managers fail to 
 realize that the "sketch," its plot, title and 
 cast, change with every new one that comes; at 
 least one would so judge, because through a 
 whole season every act of this type will be pre- 
 sented in the same old "set," with the same old 
 furniture and props, and often season after 
 season. 
 
 It is urgently recommended that a theatre 
 should not start its season with one or two in- 
 terior sets; it should by all means possess three 
 or four, but at the very least two light-toned 
 and one sombre, or dark and heavy, not includ- 
 ing plain chamber or kitchen sets. 
 
 Periodically, and not less often than at 
 the close of each season, these sets should be 
 repainted, changing the designs and colors. 
 This can be accomplished at a comparatively 
 insignificant cost by arranging for a scenic 
 artist to come to the theatre to do the work, in- 
 stead of shipping the scenery to a studio. 
 
 The crew should be thoroughly trained in 
 making sets. Lack of careful and sufficient 
 bracing at doors, so that, when a door is opened 
 
 204 
 
or closed, the entire side of the scene waves diz- 
 zily about as if struck by a cyclone, indicates 
 incompetency. 
 
 All joints on interior sets should be tightly 
 lashed. If the sides do not meet perfectly, it 
 may be due to stile warpage, which should have 
 attention from the stage carpenter. There 
 should be no open cracks between pieces, such 
 as can be seen from the audience, or through 
 which streaks of light show. It is somewhat dis- 
 concerting to a person watching a sketch to see 
 an individual on the stage behind one of these 
 cracks, using it for a peep-hole; or to have 
 a ray of light from back stage shining through 
 it while the action on the stage is in semi-dark- 
 ness. Such things destroy the artistic value of 
 the setting, and distract attention from the play- 
 er's efforts. 
 
 Dressing-Rooms 
 
 There are a few things to be borne in mind 
 in connection with this section of the theatre. 
 In the first place, it should be remembered that 
 the actor is subject to the same influences, weak- 
 nesses and sensations as affect other human be- 
 ings. There is, however, this exception, that the 
 artist is, as a rule, prone to be just a little 
 
 205 
 
more grateful for small attentions than is any 
 other class, and more quickly responds to cheer- 
 ful, comfortable environment. Perhaps this is 
 because in the past it has often been the cus- 
 tom of the management to be indifferent to the 
 personal comfort and convenience of artists. 
 
 The success or failure of an act often de- 
 pends upon that indefinable quality known as 
 "personality." It follows that to get his act 
 "over" with maximum results the artist must be 
 in good humor with himself, the management 
 and his audience. Nothing which can influence 
 him in this direction is unimportant. The artist 
 is the backbone of a theatre's success — to him, 
 finally, passes the entire responsibility for mak- 
 ing the show a hit, a mediocre success or a fail- 
 ure. Therefore his comfort while he is in the 
 theatre should be looked to with care. 
 
 Too often theatres are built without refer- 
 ence to the necessity for clean, airy and reason- 
 ably roomy quarters for the artists. 
 
 If the theatre is already built, the manager 
 will have to get along with dressing-rooms as 
 arranged, but they can be kept clean, well 
 lighted, warm and cozy. If they are now dark, 
 dingy and dirty, that condition can be changed 
 and, take the author's word for it, money thus 
 
 206 
 
spent will prove to have been profitably in- 
 vested. 
 
 Dressing-rooms should be finished in light 
 color, should have ample lights and a clean 
 plate-glass mirror, even if small, rather than a 
 wavy, dirty and cracked one. There should 
 be an outlet which will permit the use of an 
 electric iron, and the theatre should have such 
 an iron available and encourage its use by the 
 artists. A little cin*rent and a five-dollar iron, 
 coupled with an invitation to use both, may 
 mean a considerable difference in the appear- 
 ance of an artist's wardrobe — and if the man- 
 ager is not interested enough to provide the 
 facilities, can it be reasonably expected that 
 the artist, at considerable personal expense and 
 inconvenience, shall have his clothes pressed 
 daily? ^ fl** ] 
 
 Above all, the dressing-rooms should be 
 CLEAN. A good-sized rug should be provided for 
 the floor, bearing in mind always that scantily 
 clad men and women will be using these quar- 
 ters. The rooms should, therefore, not be the 
 habitat of cockroaches, rats, and other vermin. 
 It will prove wxll worth the trouble and expense 
 if they are kept clean and comfortable, warm in 
 winter and cool in summer. 
 
 207 
 
As a rule, the multiplicity of signs that often 
 clutter dressing-rooms and hallways are, to say 
 the least, of doubtful value. If it is desired that 
 there shall be notices on the stage directing the 
 artist where to eat, which drug store handles 
 make-up material, etc., etc., then it is best to fix 
 up a regular bulletin board for this purpose, 
 on stage, and posted close to the official call- 
 board of the house. 
 
 Artists now-a-days know that it is a violation 
 of their contract to appear at a club or any 
 place in the city other than the theatre being 
 played; they know that smoking is forbidden on 
 the stage and in dressing-rooms, usually by city 
 ordinances, as well as by common practice, and 
 the tendency to have too many signs, notices 
 and instructions posted serves to annul the ef- 
 fectiveness of all. 
 
 This sign, posted conspicuously, is suggested 
 as meeting all needs: 
 
 Notice to Artists 
 
 This is a reputable theatre or you would not 
 play it. Your reputation as an artist is in keep- 
 ing with the traditions of the profession or you 
 would not have been hooked. The management 
 expects, therefore, that you will govern your ac- 
 
 208 
 
tio7is here hy those well-kvown rules which cus- 
 tom has established. Your failure to do so xmll 
 result in immediate cancellation of your act and 
 a full report on the matter to our booking con- 
 nection. 
 
 The Management. 
 
 In the event that the reader is planning the 
 erection of a theatre, it is urgently recom- 
 mended that he take note of the following 
 points for consideration in the construction of 
 the dressing-rooms: 
 
 Size. 8 feet by 10 feet at least; 9 feet by 12 
 feet or larger if possible, and there should be at 
 least two rooms 12 feet by 18 feet or larger for 
 troop or "girl" acts. Ten rooms will ordinarily 
 be sufficient, though if twelve can be provided it 
 is advisable to have that number. 
 
 Lighting should be ample, it being remem- 
 bered that the artist "makes up" to appear 
 before very bright foot and spotlights, which 
 will show up poor "make-up" resulting from 
 insufficiently lighted dressing-rooms. An out- 
 let should be provided at each side of the 
 dressing mirror, and one or two at the 
 top. Or an improved manner of lighting 
 
 209 
 
the artist's face and giving better re- 
 sults in making-up is the following arrange- 
 ment: Attach to each side of the mirror frame 
 for the full length of glass, a three-quarter 
 round, 3 inches in diameter, metal trough to con- 
 tain 15- watt lamps connected about 7 inches 
 apart from bottom to top of trough; the trough 
 to be painted two coats of flat white inside, and 
 outside to be painted same color as mirror 
 frame, both of which should match dressing- 
 room walls. This method of lighting will throw 
 light direct on the artist's face and afford much 
 better illumination for details of make-up. 
 There should also be an outlet for plugging in 
 electric iron, and curling-iron heater, also fan 
 outlet. 
 
 Ventilation. All that the lay-out and con- 
 struction will permit; windows of opaque or 
 wire-glass where possible and if it is proposed 
 to operate during summer, electric fans should 
 be provided. 
 
 Hot and Cold Water should both be pro- 
 vided, with a substantial lavatory, clean and 
 sanitary. 
 
 Make-up Shelf. 18 inches wide, 31 inches 
 from the floor and 6 feet long with two mirrors. 
 
 210 
 
plate glass, about 18 inches by 24 inches. In the 
 large "troop" rooms these shelves should be cor- 
 respondingly longer and have the number of 
 mirrors increased to about four for each shelf. 
 At least one full-length mirror should be pro- 
 vided, preferably where all the artists can use it. 
 
 Wardrobe Hooks. 6 feet from the floor, 10 
 inches apart, all around wall except where would 
 come over dressing shelf or lavatory. 
 
 Chairs. Two substantial dining or bentwood 
 chairs to each of the smaller rooms and about 
 eight for the larger rooms. 
 
 In General. The doors should be provided 
 with good locks, for which keys should be 
 tagged after the fashion of hotel keys. There 
 should be two or more toilets provided; prefer- 
 ably in separated locations, one exclusively for 
 "women" and the other for "men.^^ If the 
 building plans, plot and space available can 
 be made to provide it, there should be one or 
 two dressing-rooms on stage level; not with the 
 idea that they are for "stars" so much as to 
 take care of the act which has to make one or 
 many quick changes of costume during the show. 
 In addition to dressing-rooms located on stage, a 
 
 21] 
 
portable dressing-room should be provided. This 
 should be about 7 feet by 7 feet, collapsible 
 frame covered with heavy denim and arranged 
 to fly back to wall when not in use. Doors to 
 dressing-rooms should be not less than 34 inches 
 ^\ide, to allow for admission of large trunks. 
 Rooms should be numbered, and a suitable 
 board, Mith numbered hooks, should be pro- 
 vided on stage where artists are expected to 
 hang keys when leaving theatre, A switch 
 which will turn off all lights in the dressing- 
 room should be located close to the door in a 
 convenient place to be turned off and on as 
 artist leaves or enters dressing-room. A small 
 card above switch reading "please turn off 
 LIGHTS ON LEAVING room" will rcsult in the sav- 
 ing of much current. Rugs of proper size, which 
 can be removed, beaten and sunned weekly, 
 should be provided in each room. 
 
 212 
 
CHAPTER IV 
 
 ADVERTISING AND PUBLICITY 
 
 HE would be a brave individual indeed 
 who assumed to "know it all" concern- 
 ing this vast and complicated subject. 
 No person has become master of advertising 
 and publicity, for the reason that human in- 
 genuity is constantly creating new ideas and 
 practices. However, certain methods of ad- 
 vertising which have been tried and found suc- 
 cessful may be briefly outlined and discussed. 
 
 No form of enterprise is more dependent 
 upon advertising than is the theatre; publicity 
 is the breath of its life and is vital to its suc- 
 cess. 
 
 Advertising, as it is generally understood, is 
 the art of selling by means of publicity; but 
 advertising does not consist merely of the use 
 of newspapers, bill boards, window-displays, 
 
 213 
 
etc. Advertising from the theatrical point of 
 view embraces everything that may attract at- 
 tention; and the best and most effective is "by 
 word of mouth." The unsolicited praise of a 
 pleased patron, given because he has been gen- 
 uinely entertained and gratified, is actually 
 priceless; it is sincere, unquestionable as to mo- 
 tive, and immediately productive of results. 
 If a theatre could uniformly present shows 
 which caused everyone seeing them to urge his 
 friends to do likewise, other advertising would 
 be superfluous. Every effort should be made 
 to impress the patron favorably, not only with 
 the show itself, but as well with the treatment 
 accorded him by the staff, with the comforts of 
 the house and the little attentions and court- 
 esies provided by a thoughtful management. 
 An usher who is impudent is an adverse ad- 
 vertisement; a treasurer who is pleasant is a 
 favorable one. 
 
 Some men are born advertisers; they see pos- 
 sibilities in the most trivial things and take ad- 
 vantage of them. It is not always the "big 
 city" manager who gets the best results; fre- 
 quently the most effective advertising is done 
 by the manager with a small house in a small 
 town. Results, and results only, indicate the 
 value of the methods adopted. 
 
 214 
 
Coupled with every form of advertising, and 
 making it effective, must be the value behind 
 the advertising; no amount of money spent, no 
 cleverness in attracting attention, no happily- 
 conceived schemes, will avail if there be nothing 
 to substantiate the claims made. Every fac- 
 tor in the actual operation of the theatre must 
 support the advertising. Xo one can fool all 
 the people all the time, and while clever pub- 
 licity may induce an initial visit to a theatre, 
 there will likely be no second visit if the ad- 
 vertising proves misleading or palpably false. 
 The vaudeville theatre differs in no respect 
 from any other extensively advertised product 
 or service, and no advertising will continue to 
 sell an inferior product or service. 
 
 Therefore, the super-superlative, even the su- 
 perlative, should be avoided, in describing the 
 show, act or theatre, unless it be really super- 
 lative. The attractive presentation of the truth 
 is the best, indeed the only, policy to pursue. 
 
 Newspapers 
 
 Two classes of newspaper advertising or pub- 
 licity are considered. First, display advertis- 
 ing; second, readers, criticisms, special stories, 
 etc. 
 
 215 
 
Display Advertising in the daily papers is, 
 by proved practice, one of the most effective 
 forms of establishing and maintaining patronage 
 for a theatre. But, the newspaper advertisement 
 fills only one field; it does not cover the entire 
 needs of the theatre; other forms of advertising 
 are, in their way, and considering their cost, 
 just as essential and proportionately valuable. 
 
 No rule as to the amount of space which 
 should be used can be laid down, as local con- 
 ditions, advertising tariffs, established customs 
 and individual preferences would subject any 
 such rule to too much variation. With refer- 
 ence to the amount of space to be used, it is 
 suggested that only needlessly costly results 
 come from a competition between theatres as to 
 which will use the most, and that the standing 
 of a theatre or the merit of its attractions is in 
 no wise indicated to the public by the use of 
 more space than is legitimately necessary to dis- 
 play its advertisement effectively. 
 
 It is quite true that in a general way a large 
 display is more effective than a small one, but 
 this does not mean that a quarter-page will 
 actually bring more business to the box-office 
 than an eighth ; in fact, the eighth if better writ- 
 ten and displayed, will get as much or more. On 
 the other hand, a "flash" now and then, to cover 
 
 216 
 
an extra strong bill or act, has proved worth 
 the additional cost in numberless instances. The 
 guiding rule should be that the amount of space 
 be governed by real needs, without respect to 
 what the "other fellow" thinks he needs, or 
 uses. 
 
 The accepted practice is to run a larger ad- 
 vertisement than usual on Sundays. There are 
 several reasons for this. Usually papers devote 
 a page or more in their Sunday issues to the- 
 atrical news and features; this serves to con- 
 centrate the attention of the reader upon affairs 
 theatrical, and it is well to impress upon him, 
 while he is in this mood, the attractiveness of 
 a certain theatre and show. Readers have, as 
 a rule, more time on Sundays to peruse their 
 papers, hence a more detailed description of 
 the show is advisable. 
 
 If a limited space is used, it should never 
 be crowded with matter set in small type; for 
 the busy reader will "pass it up." It is better 
 to err on the side of brevity than of detail. 
 
 Plain, readable, boldly stated facts, set in 
 striking fonts of type, should be the form used; 
 borders that will make the display "stick out" 
 are desirable; also a heading that will dis- 
 tinguish the advertisement from all others on 
 the page the minute the reader's eye turns to 
 
 217 
 
that sheet, and if possible a certain fixed po- 
 sition in each issue of the paper. 
 
 The use of a catchline or slogan is very de- 
 sirable — BUT unless it is original and means 
 SOMETHING, it is better left out. 
 
 Every advertisement should include the start- 
 ing time of shows, the telephone number of the- 
 atre, and (in the larger cities) its street address. 
 
 As a general proposition, it will be found that 
 newspapers, where more than one is published 
 in a city, are very sensitive to and resentful 
 of a larger space being used in one than in 
 another. Advertising rates are based upon cir- 
 culation, and usually they are higher for a 
 theatre than for a merchant. It is the writer's 
 experience that the best and soundest practice 
 is to give to every paper the theatre regularly 
 uses the same sized advertisement. Usually 
 papers will not expect that the money expendi- 
 ture with each shall be the same, but that the 
 amount of space used in each shall be. 
 
 In the choice of publications to be used, it is 
 suggested that every daily paper, except 
 of course in a city like New York or Chicago, 
 where there are such a great number, should 
 be patronized; not only for the reason that 
 each has its more or less loyal followers, but as 
 well because, despite duplicated circulation, it 
 
 218 
 
has proved worth while to reach the reading 
 public as often and from as many different 
 angles as is practicable. Then, too, there is the 
 matter of being upon a friendly footing with 
 all of the papers — an important thing. 
 
 While all the publicity that can be secured 
 is desirable, weekly and semi-weekly papers 
 devoted to special interests are likely to be du- 
 plicated circulation to a class of readers who 
 look to the daily papers for their theatrical in- 
 formation. There is no end to the number of 
 mediums that can be used, but unless a good deal 
 of money is to be wasted, these should be care- 
 fully chosen and their value thoroughly analyzed. 
 
 Except when the primary idea is to cultivate 
 the friendship of some individual or institution, 
 the purchase of space in special programs, as 
 for fairs, auto shows, bazaars, high school mag- 
 azines, etc., should be discouraged, as all of this 
 type of advertising — considered merely as such 
 — is not worth what it costs. If it is known 
 that the theatre is a "live prospect" for this 
 type of stuff, many hundreds of dollars may be 
 wasted on it during a season. 
 
 It is splendid practice to adopt at the be- 
 ginning of a season a schedule to govern the 
 amount of display space that will be used and 
 covering other advertising that is to be done, to 
 
 219 
 
make an appropriation for this, and then 
 STICK to the schedule or budget, as laid out. 
 It goes without saying that this should be based 
 upon a careful and thorough study of the situa- 
 tion, needs of the house and the local conditions 
 as to opposition, etc. 
 
 Advertising should not be spasmodic, twenty 
 inches one day, four the next, and then per- 
 haps but one, with an idea of economy to make 
 up for the "flash"; this policy has proved wrong 
 in practice. Better the consistent, continuous 
 policy, with deviation therefrom only in the 
 EXCEPTIONAL casc, with something really excep- 
 tional as a reason for it. Guard against a "penny 
 wise and pound foolish" policy in purchasing ad- 
 vertising; provide liberally but wisely for this 
 department, and avoid waste. 
 
 In making contracts with the papers cover- 
 ing the amount of space to be used during a cer- 
 tain period, care should be taken not to bind 
 oneself to use more than will be needed, simply 
 to get the lowest rate. It is customary to make 
 a rate for the use of say a thousand lines or 
 inches durnig a certain period, and if there is 
 a lower rate for two thousand lines or inches, 
 and the theatre uses the greater amount, the 
 lower rate will apply to all space used. If this 
 is not the custom in a particular city, at the 
 
 220 
 
time of making contracts a stipulation may be 
 inserted providing that if more space than is 
 called for by the contract is used by the ad- 
 vertiser, the lower rate shall apply to the en- 
 tire contract. 
 
 In newspaper parlance an "inch" means one 
 inch deep by one column wide, and a "line" 
 means an agate line one-fourteenth of an inch 
 deep, one column wide. Thus it is seen that 
 where the line rate is quoted, the inch rate may 
 be found by multiplying by fourteen. 
 
 Contracts should not be hastily entered into; 
 everything should be clearly stipulated for the 
 protection of both parties. 
 
 For instance, some papers agree that for 
 every inch of display used, an inch of free read- 
 ers will be given. If this is the policy, it should 
 be so stated in the contract; the management 
 of the paper may change, and if these things are 
 a matter of record the likelihood of misunder- 
 standings is obviated. 
 
 Copy should be handed in promptly, for a 
 paper cannot be expected to keep its forms 
 waiting. The manager should be posted as to 
 the hours when the forms are "locked," and 
 should understand that if his copy is late he will 
 forfeit his right to a preferred position. The 
 composing room of a newspaper is operated on 
 
 221 
 
a strict schedule, and habitually late arrival of 
 copy is likelj^ to create a distaste for handling 
 it, with the result that it may be carelessly set- 
 up, blurred and possibly full of typographical 
 errors, unavoidable in the rush to get it in at 
 all. An occasional visit of the manager to the 
 "ad alley" will do no harm if made in the slack 
 hours, and by taking into consideration the per- 
 sonal and human element, he will find the in- 
 creased interest felt in him and his house by the 
 men, from the foreman to the "devil," a val- 
 uable asset. 
 
 A display should not be bizarre, or freakish. 
 It should, however, have a "punch" and should, 
 in homely phrase, "stick out like a sore finger." 
 Copy should be clean-cut, original and in good 
 taste. If there is a decided difference in the 
 style of make-up of and in the class of readers 
 appealed to by various papers in a city, the 
 copy should be adapted to the particular style of 
 each paper, conservative for the more staid and 
 less so for the more "popular" appeal, with, 
 however, due regard always for truth and good 
 taste. It is wise to head the display with a 
 cut or block, the consistent use of which identi- 
 fies the theatre's advertisement at once. Space 
 costing a dollar an inch should be made to 
 earn ten. 
 
 222 
 
Criticisms, Special Stories, Reviews. The- 
 atrical matters are of interest to the general 
 public — this is recognized by the progressive 
 newspaper, and most of them are not only 
 willing, but eager to publish such items as have 
 legitimate news or feature value. But it should 
 be borne in mind that the fantastic and unbe- 
 lievable, the hackneyed story (such as the time- 
 worn fable concerning theft of the leading lady's 
 jewels) and the glaringly inconsistent one will 
 probably be rejected by the editor of any well- 
 conducted newspaper. 
 
 If repeated efforts have been made to "put 
 over" this sort of story, the editor will probably 
 grow distrustful of all matter submitted by the 
 theatre, and be inclined to throw it out with- 
 out even a reading. Editors are sufficiently 
 human to resent having anything "put over" 
 on them and will make entree to their reading 
 columns very difficult for the ill-advised man- 
 ager or press-agent who tries to plant "dog- 
 stories," as they are commonly known. It is, 
 also, a question whether such stuff has any 
 weight with readers; so much has been written 
 concerning the theatre that the general public 
 is fairly well-informed as to the tricks of press- 
 agents. The confidence of editors should be 
 secured by the submission of nothing but legit- 
 
 223 
 
imate stuff, for, once lost, this confidence is very 
 difficult to regain. 
 
 Timely stories concerning the activities of the 
 theatre, improvements contemplated or being 
 made, changes in the major positions in the 
 staff, little "human interest" stories about the 
 artists, and specials concerning headline or other 
 acts are usually very acceptable to papers. 
 
 Naturally, the showing given to such stories 
 must depend upon their relative importance to 
 the day's news. Frequently a rush of vitally 
 interesting happenings in the world's affairs 
 will crowd out a theatre story. This is not a 
 reason for the manager's assuming that the pa- 
 per is discriminating against him; the exercise 
 of a little common-sense will show him that the 
 editor is rimning a newspaper, not a theatre, 
 and that it is the first and foremost duty of a 
 newsj^aper to present the important news as 
 quickly as possible. That is what the public 
 demands and what the editor must give. The 
 "killed" story may be good for use on some 
 other occasion, or very probably the editor will 
 take pains to make extra space for another story 
 in a future issue less crowded with news fea- 
 tures. 
 
 The practice of newspapers in "reviewing" 
 shows should receive every encouragement from 
 
 224 
 
managers. This gives the public disinterested 
 information as to the merit of attractions, and 
 while it is true that the review is not always, 
 perhaps rarely, as good as the manager thinks 
 it should be, it is the writer's observation that 
 the press tries to be absolutely fair, and this is 
 all that can or should be expected. In fact, 
 the manager on friendly terms with the paper 
 sometimes receives a shade the best of it. 
 
 The critic should be seated in a favorable lo- 
 cation, should be supplied at once with a pro- 
 gram, and if he wishes to interview any of the 
 artists, should be afforded every facility for 
 doing so. 
 
 "Timely" interviews are of interest and can 
 usually be arranged if there is an artist on the 
 bill with something interesting to say. With 
 the co-operation of the society editor, interest- 
 ing stories or interviews can be secured with 
 feminine headliners ; the sporting editor can now 
 and then use something in connection with an 
 act which has a record in this field. 
 
 It is sometimes the case that papers will ac- 
 cept a review written by manager or press- 
 agent of a theatre; this privilege will be ulti- 
 mately withdrawn by any reputable paper, 
 if it is found that the reviews are not reason- 
 ably accurate and in keeping with the facts. 
 
 225 
 
The wisest plan to follow in these circum- 
 stances is one of conservative praise for the 
 show with special mention of such acts as ac- 
 tually have gone well with the audience; ful- 
 some and exaggerated praise should by all 
 means be avoided, for a public cannot be con- 
 tinually exploited by such means. After one 
 or two experiences with reviews found to be at 
 variance with the facts, a general distrust of all 
 reviews is engendered in the mind of prospec- 
 tive theatre-goers. If a theatre have the repu- 
 tation of presenting, week in and week out, 
 shows of a high average of excellence, there is 
 no need for these futile efforts to fool the public. 
 The public is impressed, not only by the in- 
 cident of the moment, but by the molding 
 process continued through a long period of con- 
 sistent effort. The impression gained from a 
 single incident, however, may be almost indeli- 
 ble; therefore the risque in either advertise- 
 ments or stories should be avoided; there is no 
 excuse for conveying the idea that the theatre 
 houses a show for the so-called "live ones." For 
 example, in advertising a group of classical 
 dancers, the fact that their wardrobe is scant 
 should not be featured; rather, the aesthetic and 
 beautiful points should be emphasized — and this 
 may result in securing not only the patronage 
 
 226 
 
of those who might come with an idea of look- 
 ing at nude limbs but as well of those who have 
 a sincere appreciation for and knowledge of 
 art and the beautiful. The latter will not be 
 drawn by advertisements and stories of the at- 
 traction in which the feature of nudity is vul- 
 garly or coarsely handled. 
 
 Show-going is a habit, attendance at the 
 theatre is a luxury; if by consistent and truth- 
 ful publicity in both display advertising and 
 news columns, a theatre is established as the 
 one which it is the "habit" of the best people 
 to attend, the others will trail along. 
 
 It is a thoughtful practice for the manager 
 to note little items of news which may drift in 
 to him, and to give these to the reporter when 
 he calls, or to telephone the papers if the news 
 is of sufficient importance and is for any rea- 
 son not likely to be caught by the regular re- 
 porters. In the event of prominent persons 
 visiting the theatre, giving box-parties, line-par- 
 ties, etc., the names of host and hostess and 
 guests should be secured and handed to the so- 
 ciety editors. If any untoward incident has oc- 
 curred about the theatre, the papers should be 
 informed by the manager; it is not a wise policy 
 to attempt to keep these things covered, for 
 if they have, as is usually the case a real news 
 
 227 
 
value, the papers will publish something con- 
 cerning them. It is better for both papers and 
 theatre that the story be given correctly by 
 the proper person than that it should be fer- 
 reted out from other sources and a garbled ver- 
 sion reach the public. If friendly relations 
 have been established with the newspapers, it 
 w411 be found that the editors will treat such 
 matters with consideration and due regard for 
 the business interests of the house. The good- 
 will of a reporter who can be bribed with a 
 cigar, or something more valuable, is never worth 
 the price of the bribe. His usefulness to any 
 paper will be short-lived. Fairness, courtesy 
 and honest dealing are the only means of es- 
 tablishing permanently cordial relations which 
 are so important to the theatre and press alike. 
 Special stories, of legitimate interest, occur 
 with considerable frequency in the theatrical 
 business. There is rarely a bill which does not 
 bring at least one artist who, if diligent inquiry 
 be made, cannot furnish the basis for an inter- 
 esting, readable story. These are valuable to 
 the theatre, and to the paper. The public, 
 through reading such stories, comes finally to be- 
 lieve that the theatre is booking real talent and 
 people worth writing and reading about. The 
 day of the overdrawn, exaggerated, highly-col- 
 
 228 
 
ored story has passed ; there was a time, when the 
 public was not so wise, when these were pro- 
 ductive of results, but the vaudeville theatre 
 has become a fixed institution, a factor in the 
 community life, worthy of respect and recog- 
 nition, and the policy that pays now is the one 
 which recognizes the importance of dignifying, 
 in every way, the prestige of the theatre, its 
 entertainments and its players. 
 
 The importance of illustrations should not be 
 overlooked. It should be the constant effort of 
 the manager to get "cuts" into the papers. 
 Generally, editors, when they have space to 
 spare, are glad to use a cut of a pretty woman 
 with some bit of matter about her; the reader 
 likes illustrations, and the cut is a potent factor 
 in the effectiveness of publicity. Cuts should 
 be of the proper screen, that is, of the kind that 
 will print well in newspapers. Generally, news- 
 papers prefer half-tones in 55-line to 85-line 
 screen, as finer ones merely print up a black 
 blur. Zinc etchings, made from pen and ink 
 drawings, generally show up excellently in the 
 newspaper. 
 
 The Sunday "lay-out" featured by many pa- 
 pers is usually made in the newspaper office 
 from photographs furnished by the theatres; 
 Clear, well defined, contrastive photographs, 
 
 229 
 
preferably in black and white, are best for this 
 use. 
 
 Billboards 
 
 Considerable attention should be paid to the 
 actual making of one, three and eight-sheet 
 boards, with special reference to their dura- 
 bility and weather-resisting qualities. Other- 
 wise much needless expense may be incurred in 
 renewing them each season; a little more time 
 and money spent on the first construction will 
 make boards that will last through several sea- 
 sons. 
 
 On all boards, the flat surface upon which the 
 paper is posted should allow for a two-inch 
 margin all around; in other words, this surface, 
 for a one-sheet, should be 32 inches wide and 46 
 inches high, the standard one-sheet being 28 
 inches wide by 42 inches high. The two- 
 inch margin all around this provided, 
 should be blanked in with white paper. 
 The surface upon which paper is to be 
 pasted should never be painted, as no paste 
 has been found for practical use that will stick 
 paper to a painted surface when exposed to the 
 sun and weather. 
 
 2S0 
 
Substantial galvanized iron backs, fastened 
 to 2-inch frame, corners braced with angle irons ; 
 back painted with two coats of asphaltum, 
 frame painted with two good coats of oil color 
 and then Spar-varnished, will make stands that 
 will last for many seasons with anything like 
 reasonable handling and care. They should be 
 painted each season, front and back. 
 
 When boards are set up in permanent or 
 semi-permanent locations, a tin flashing should 
 always be placed at the top, to carry off rain- 
 water and prevent rotting of the frame. 
 
 Inventories of boards should be made an- 
 nually, and the employee in charge of them 
 required to account satisfactorily for any short- 
 ages. These are a part of the theatre's equip- 
 ment, and deserve the same thorough, careful 
 handling and attention that other equipment 
 should receive. 
 
 Posters, Paper, etc. If paper is to be posted 
 at all, the attendant expense is only justified if 
 intelligent attention is given to typography, 
 wording and general effectiveness thereof. Re- 
 member, posters must be so arranged that "he 
 who runs may read;" rarely do people read in 
 detail what is printed upon them; hence it fol- 
 lows that their message must be not only brief, 
 
 231 
 
but potent; quick, but with a "punch," and 
 what they have to say must be said in a very 
 few words. Therefore, the message of the pos- 
 ter is limited to essentials — essentials effectively 
 stated. 
 
 It follows that locations should be carefully 
 chosen. In fact, they should be selected by the 
 manager personally, and it should be borne in 
 mind that it is a waste of money and effort 
 to post paper on inconspicuous back walls, up 
 alleys and in other out-of-the-way spots. Choice 
 locations, up and down the main arteries of 
 travel, near important corners, transfer points, 
 depots and gathering places, and in the heart 
 of the city as much as possible, are the desirable 
 ones. Paper may also be posted with good re- 
 sults at the intersections of automobile roads, 
 and a certain amount should be kept up in small 
 nearby towns from which it is possible to draw 
 by means of interurban lines. The manager 
 should check his locations weekly, and see that 
 paper for the current and coming shows is prop- 
 erly posted. It is good policy to aim high in 
 the matter of locations; the chances are that 
 the shots will strike a fair average, since so 
 much depends upon how many favorites the 
 bill-poster is trying to play. 
 
 232 
 
Individual large stands are better than those 
 crowded into the middle of a 200-foot board, or 
 lost in the maze of a double- or triple-decker 
 stand. 
 
 Where city ordinances do not forbid the prac- 
 tice of "strong arming," one-sheet boards up 
 and down both sides of the main streets are 
 very effective. This is usually done by putting 
 out boards late Saturday night, leaving them 
 over Sunday, and removing them Sunday night. 
 The locations for these must be "squared" with 
 the merchants controlling the curbs, otherwise 
 the boards may be confiscated. 
 
 The eight-sheet is, perhaps, the most effec- 
 tive size of paper, when good locations can be 
 secured. Where large spaces are difficult or 
 impossible to get, then the three- and on down 
 to the one-sheet must be resorted to, if bill- 
 posting is done. Local conditions govern this 
 work and its extent, but the intent of this ar- 
 ticle is briefly to cover the practices that have 
 generally proved profitable. 
 
 Unless the theatre owns, or leases for long 
 terms, locations that will accommodate 24-sheet 
 stands, the use of such large paper is not as a 
 rule justified, the cost of making weekly changes 
 being excessive. Where the same interest con- 
 trols more than one house in a city, it is often 
 
 233 
 
better that it own its own boards and control 
 all its own locations, maintaining its own wagon 
 and bill-posting force which, when not at that 
 work, can be utilized in some other way about 
 some of the theatres. 
 
 The cost of bill-posting varies — ranging from 
 4 to 10 cents per sheet. 
 
 The permanently located, painted, 20 to 24- 
 sheet stand, is considered good advertising. It 
 should be painted at least once each season and 
 be kept bright and clean at all times. The mat- 
 ter of illuminating it is left entirely to the read- 
 er's discretion. 
 
 It is foolish to buy paper and pay for posting 
 unless it is posted right, straight, true and with 
 proper joints, not having more paste on its front 
 than on its back. When standing or stock pa- 
 per is used, the crew should go out after storms 
 and heavy rains to replace "washdowns," and 
 when the paper begins to look ragged, it should 
 be scraped oflF and the boards freshly covered. 
 Allowing several thicknesses of paper to ac- 
 cumulate on a board will result in upturned 
 and unsightly edges. Boards should be scraped 
 off regularly with sharp hoe or painter's scrap- 
 ing knife. Better to blank a board out with 
 white paper and leave it so, than have it 
 ragged-looking, or with a one-sheet posted in 
 
 234 
 
the center of a three-sheet board; a three in an 
 eight-sheet board, and so on. This sort of 
 thing leaves in the onlooker's mind an impres- 
 sion that the house is either short of money 
 with which to purchase paper, or mighty care- 
 less as to how it is posted. 
 
 Bill-posting is but one form of the advertis- 
 ing that a theatre uses. In recent years, many 
 vaudeville theatres have entirely abandoned this 
 sort of advertising, claiming that better results 
 are secured through expending the same amount 
 of money in other directions. It is undeniably 
 true that mercantile advertising on billboards 
 has come to be such an effectively conducted 
 proposition that it has to a considerable ex- 
 tent crowded the theatre out of a field in which 
 the latter was the pioneer. 
 
 However, this is a question to be decided by 
 each individual manager or owner; if paper is 
 to be used, the following information concern- 
 ing it may be of value: 
 
 The paper customarily used for theatrical 
 posters is known as "50-pound poster white." 
 It is generally stocked in canary, pink, blue and 
 green, though these tints are a little more costly 
 than plain white. 
 
 The standard stock sizes of poster stands are 
 as follows: 
 
 236 
 
Half-sheet — 14 inches wide by 42 inches 
 high. 
 
 One-sheet — 28 inches wide by 42 inches high. 
 
 Three-sheet — One-sheet (42 inches) wide by 
 three-sheets (84 inches) high. 
 
 Six-sheet — Two-sheets (84 inches) wide by 
 three-sheets (84 inches) high. 
 
 Eight-sheet — Two-sheets (84 inches) wide 
 by four-sheets (112 inches) high. 
 
 Twenty-four-sheet — Six-sheets (210 inches) 
 wide by four-sheets (112 inches) high. 
 
 As to color combinations, there is an ahuost 
 endless variety of these, and by using paper 
 and ink of various colors, extremely effective 
 poster work may be secured. For instance, the 
 following one-color printings are effective: 
 
 Blue, green or red on white paper. 
 
 Red or black on yellow paper. 
 Effective two-color combinations: 
 
 Red and blue on white or yellow paper. 
 
 Red and green on white or yellow paper. 
 
 Red and black on white or yellow paper. 
 
 Black and any of the above colors on white 
 or yellow paper. 
 
 When more than two colors are used, a great 
 variety of effects can be obtained, and of course 
 the use of cuts, headings, etc., may render still 
 more effective the advertising poster. 
 
 236 
 
Display types, sizes and faces vary so greatly, 
 that it would be almost impossible to emimerate 
 the many kinds. In general practice, it will 
 be found sufficient to make up the copy and 
 leave it to the show-printer to get out an ef- 
 fective poster. Copy should be lettered plainly, 
 the dating should be carefully checked, and all 
 matter be in the hands of the printer in suf- 
 ficient time to allow of his using care in the 
 w^ork and of getting it back to the theatre in 
 good season. Slow movement of mail and de- 
 lays in express shipments should be anticipated 
 if the boards are not to be left blank at some 
 time or other. 
 
 The studious advertiser will devise differing 
 color schemes from week to week, and will find 
 variety in the use of new make-ups and types. 
 A deep border line around posters sometimes 
 adds to their effectiveness, and the color of this 
 can be varied with pleasing results. 
 
 The standard size of a window card is 14 
 inches by 22 inches; the usual stock is four, 
 five or six-ply white or tinted board, sufficiently 
 stiff to stand without bending, and to resist 
 weather. 
 
 The same general remarks as to color com- 
 binations, typography, etc., as were made in 
 connection with posters, apply to window cards. 
 
 237 
 
Show printing should be entrusted only to an 
 establishment making a specialty of this sort of 
 work. Such concerns employ an expert and it 
 is wise for the manager to make use of his 
 knowledge and ability. It is generally suf- 
 ficient to submit a lay-out showing the rela- 
 tive importance of the display. 
 
 A small investment in a name-plate, or spe- 
 cial block, to use as a "heading" on posters and 
 cards, is worth while. The show-printer will 
 gladly submit suggested designs for this. 
 
 If bill-posting is done, let it be consistently 
 and continuously, not spasmodically, done. If 
 passersby are to be accustomed to see paper in 
 a certain location, it should be kept there for 
 them — freshly posted always, and in keeping in 
 its appearance, style and brightness, with the 
 standing of the theatre. 
 
 Window and Street Car 
 
 Window locations should be in down-town 
 stores; in elevators of busy buildings; at popu- 
 lar soda-fountains; lunch stands; shine parlors; 
 barber shops, etc. There is no use wasting 
 cards down side-street locations and where the 
 passes issued in exchange for the privilege of 
 placing them bring in a class of people who 
 
 238 
 
should not mingle with the more refined pa- 
 trons. Passes which call for seats in the best 
 sections should not be issued to individuals who 
 are likely to smell "garlicky" or be poorly 
 dressed. 
 
 JNIany women do not frequent the down-town 
 portions of the city, but the house-wife does 
 get to her neighborhood drug-store, grocery 
 and butcher-shop almost every day. These 
 neighborhood locations are sometimes neglected 
 in the matter of window-display, but the man- 
 ager is very short-sighted who overlooks any 
 method of appeal to the women, who form so 
 large, constant and enthusiastic a portion of his 
 audience. If a woman has been accustomed to 
 seeing an attractive card on her daily round of 
 marketing, she is quite likely to include a visit 
 to the theatre on her less frequent excursions 
 down-town. A small number of displays ju- 
 diciously placed will bring better results than 
 will an indiscriminate scattering of many cards 
 in one or two windows or locations. Employees 
 are prone to this practice as a saving of time. 
 They also occasionally attempt to curry favor 
 with the general manager or head of a circuit 
 by concentrating posters and cards on all the 
 streets leading from the depot to the theatre, 
 with the idea that when he comes to town he 
 
 239 
 
will think the city well posted. This is most 
 likely to defeat its own ends; conscientious ser- 
 vice is the only sort that really pays. 
 
 A watch should be kept for stores newly va- 
 cated, and the location, if desirable, should be 
 promptly pre-empted for exclusive use. Per- 
 mission to do this, however, should always be 
 obtained from the proper persons; otherwise a 
 suit for trespass may result. "Post No Bills" 
 notices placed by property-owners should be in- 
 variably respected. 
 
 Advertisements on the dash of street cars are 
 desirable, if they do not cost out of proportion 
 to their value. The larger the city, the more 
 cars and the higher the rate. Inside cards in 
 street cars (12 inches by 16 inches) at the price 
 usually charged, are not worth the cost. Gen- 
 erally, the street car companies will make a very 
 favorable rate for the dash space, as it is their 
 policy to encourage, so far as consistent, all 
 down-town amusements. 
 
 Sanity, consistency, good judgment and alert- 
 ness should characterize effective outdoor adver- 
 tising; the exercise of these qualities will largely 
 determine whether it is worth what it costs. 
 
 240 
 
Lobby Display 
 
 It is in the lobby that the first concrete im- 
 pression of the theatre itself is given the pros- 
 pective patron. If the theatre is centrally lo- 
 cated, many people will stroll into and through 
 the lobby, look over the display and be in- 
 fluenced materially in favor of or against 
 patronizing the house as the display is either 
 effective or lacking in "pull-in" power. 
 
 Therefore, this first impression should be a 
 favorable and lasting one; the lobby should be 
 in good taste and kept scrupulously clean, with 
 harmony in the color scheme of walls, trim- 
 mings, frames and their contents. The use of 
 polished brass trimmings and frames should be 
 avoided. These are passe in the better theatres 
 nowadays — they are expensive to maintain, are 
 very easily soiled and dented and unless a great 
 deal of time and effort is spent keeping brass 
 bright, it looks worse than almost anything 
 else. 
 
 If the walls are of marble or scagliola they 
 should be kept clean and polished, and the 
 joints pointed up. If of wood or plaster, fresh 
 paint now and then upon the much-handled 
 sections will keep things looking well at small 
 cost. 
 
 241 
 
The use of easel-frames for photos and other 
 display in a small lobby should be avoided. 
 They take up too much room and are easily 
 knocked over, involving the expense of renew- 
 ing broken glass, and often broken easels and 
 frames. 
 
 Carved wood frames, in various finishes, fast- 
 ened to the wall, and equipped with hinged 
 fronts with glass securely fastened, are recom- 
 mended as most effective in every way. They 
 lend themselves to rich, attractive display of 
 photos, etc., more effectively than any other 
 style of frame. All frames should, if practica- 
 ble, be made in a uniform style and finish — 
 though not necessarily the same size. 
 
 In the writer's opinion, too much stress can- 
 not be laid upon the importance of selecting, 
 arranging and displaying lobby frames to the 
 best possible advantage, and it is therefore sug- 
 gested that frames be equipped with backs of 
 compo or beaver board, covered with richly 
 colored "rep" or cotton velvet, and that there 
 be sufficient space between this back and the 
 glass to allow the display of photographs to be 
 in smaller carved wood, gilt or bronze-finished 
 frames fastened against this background. 
 
 242 
 
This involves keeping on hand a stock of the 
 small frames, of which the following will be 
 found about right: 
 
 2 dozen 6 inches by 8 inches. 
 
 3 dozen 8 inches by 10 inches. 
 1 dozen 10 inches by 12 inches. 
 1 dozen 11 inches by 14 inches. 
 
 The hanging or fastening should be secure, 
 and so arranged that when the frame is in place, 
 hooks, chains, pictia-e wure, etc., will be con- 
 cealed. Use only a double thick, white, flaw- 
 less glass for lobby frames and always keep a 
 few panes on hand for use in case of break- 
 ages. 
 
 As to the display itself, it should include 
 photos of current, "next week" and "coming" 
 attractions; frames should not be over-crowded 
 with photos, and their arrangement should be 
 tasteful. Each frame of photos should con- 
 tain a neatly lettered card or brass plate 1| 
 inches by 7 inches indicating title and billing of 
 acts displayed therein; and in prominent loca- 
 tions in the lobby should be frames, containing 
 attractively lettered announcements of "next 
 week" and "coming" attractions, as well as a 
 complete list of the current bill. 
 
 Attractive results, and economical as well, 
 can often be secured by using some of the 
 
 243 
 
richly colored, beautiful, plain wall-paper now 
 made, to paint these signs upon; and this paper 
 may also be effectively used as backing in the 
 photo frames, changing the design and color 
 each time the frames are re-dressed. 
 
 Lobby frames, regardless of size or whether to 
 hang or stand, should have hinged fronts with 
 the glass secubely fastened. Neglect of this 
 point has cost much in broken glass. The frame 
 thus constructed permits glass to be easily 
 cleaned, back re-dressed, and the entire proposi- 
 tion handled quickly and with minimum break- 
 age. 
 
 On the front of the theatre the use of the 
 electrically lighted transparency is very effec- 
 tive by day and more so at night, and if the 
 house is being built, the walls should provide 
 recesses for such frames as will accommodate 
 electric lighting behind the glass front upon 
 which the transparency is painted. 
 
 The sign-writer who is to handle the card 
 work should be an artist, not a house painter. 
 There is a great deal of this work to be done 
 about a vaudeville theatre, and it is often better 
 to select an individual rather than a firm, to 
 handle the work. Not infrequently, arrange- 
 ments can be made with the window-dresser of 
 a leading dry-goods store; or with some ca- 
 
 244 
 
pable individual who is employed at one of the 
 sign-painting studios. Often such arrange- 
 ments contemplate the artist working in a room 
 about the theatre, and when this is the case, the 
 manager should take an active interest in seeing 
 that he has the proper facilities with which to 
 work. Should it chance that the theatre is in 
 a very small city, money will be well invested 
 in sending the card-writer to the nearest large 
 city to see how these things are done in leading 
 theatres. The new poster effects in cards, va- 
 rious color combinations, "cut-outs," etc., are 
 just as attractive and effective in getting busi- 
 ness in the small town as in the large one. 
 
 It is wise to employ by the week the best 
 man obtainable, and the management should 
 take an intelligent and encouraging interest in 
 his work. Apart from their decorative value, 
 cards and bulletins should have a "punch"; 
 they should be effective as well as pleasing. 
 
 The lobby should be well lighted, but never 
 glaringly so. The seasons afford an opportun- 
 ity for varying decorative schemes; in summer, 
 the lobby should be cooled, the hangings light- 
 ened in shade if possible, and a "north pole" 
 suggestion prevail; in winter, it should give an 
 impression of warmth and colorful comfort. 
 Mirrors conveniently placed in well lighted lo- 
 
 246 
 
cations enhance the decoration and make an 
 attractive appeal to matinee patrons. 
 
 Special 
 
 Under this heading will be discussed out- 
 side, inside and "stunt" advertising of an un- 
 usual nature, as distinguished from standing 
 and customary displays and advertisements. 
 
 A consistent policy of taking the fullest ad- 
 vantage of any unusual events in the life of the 
 city, such as conventions, fairs, cantonments, 
 etc., is something that the alert manager should 
 develop and adhere to. Every such event offers 
 money-making possibilities to the theatre, and 
 it is the theatre reaching these people oftenest 
 and most effectively that "cashes in" on the at- 
 tendance at such gatherings. 
 
 For instance, during the annual fair, car- 
 nival or similar activity, attractively colored 
 tack-cards should be placed on telegraph and 
 telephone poles along the main highway of travel 
 to the place where the fair is being held; ad- 
 vertising kites may be flown from or adjacent to 
 the grounds; arrangements can often be made 
 to place a banner on the balloon which is as- 
 cending, or on the elephants in the parade; 
 heralds or dodgers can be distributed on the 
 
 246 
 
grounds, and a live advertiser can usually ar- 
 range to hang a large overhead banner from 
 telephone poles across the main road leading 
 to the grounds, at two or three important points. 
 If it happens that there is a brassy musical 
 act on the bill at this particular time, arrange- 
 ments should be made with them to "ballyhoo" 
 at the gi'ounds sometime during the day, an 
 auto being provided, with banners, for it to use 
 going to and from the grounds and during con- 
 certs there. Some paper can probably be 
 sniped on fences, barns, etc., on the route to 
 the groimds, and perhaps arrangements made 
 to put a banner, or some paper, on the judges' 
 stand, and about the grand-stand at the race 
 track. A fair or convention crowd can be made 
 to look at something about the theatre every- 
 where it turns. 
 
 Theatres in cities adjacent to cantonments 
 should observe about the same practices and 
 every effort made to secure and hold the patron- 
 age of the soldiers. This involves treating them 
 courteously. In this particular case, the man- 
 ager should make it a point to know the com- 
 manding officer and his staff; boxes may be 
 placed at his disposal now and then, and the 
 acquaintance of the other officers cultivated; 
 these attentions will bring cash to the box-office. 
 
 247 
 
Every effort should be bent toward making the 
 theatre popular — when the advertising has got- 
 ten people into the house, only fair, honorable 
 and courteous treatment will hold and bring 
 them back again. 
 
 Where cantonments are situated, arrange- 
 ments can be made for tickets to the theatre to 
 be handled through the canteen or company 
 exchanges. Such arrangements are highly desir- 
 able, as credit is thus extended to the soldier 
 by the canteen or exchange, which pays cash 
 for the tickets, settling daily or weekly, as pre- 
 ferred. 
 
 Fraternal organizations may be used to good 
 advantage by giving them "percentage" bene- 
 fits ; that is, a night is set aside in a certain week 
 
 which is to be "Knights of Night." 
 
 It should be announced about five weeks in ad- 
 vance, and the organization permitted to sell 
 tickets for that performance. The tickets thus 
 sold should be exchangeable at the box-office 
 for the regular ticket of the theatre; and on the 
 night of the performance all the tickets they 
 have sold (not only the ones that come into the 
 box-office) should be settled for on a percentage 
 basis. This often brings to the theatre many 
 people who have not been regularly attending, 
 and may make new patrons. Usually one or 
 
 248 
 
more such nights can be arranged for each week, 
 for a period of ten or twelve weeks. Thus there 
 may be several hundred people talking about 
 the show and endeavoring to sell tickets for it. 
 Naturally, they recommend it. The women's 
 clubs like this plan and have proved hard work- 
 ers and business getters with it. 
 
 Arrangements can usually be made with the 
 hotels and restaurants which print a menu each 
 day, to run a line at the bottom about the 
 theatre and show. This same arrangement can 
 be made, as a rule, with the principal drug 
 stores and soda fountains in connection with 
 their lists of soft drinks and light lunches. The 
 soda fountain men might be persuaded to name 
 drinks after current headliners — for instance, 
 the "Sophie Tucker Sundae;" and to display 
 the names of these specials, not only on the 
 printed list, but on the mirrors behind their 
 fountains. 
 
 A tactful effort may earn the privilege of 
 placing a small frame in the elevators in the 
 principal buildings. People riding up and down 
 have nothing to do but look around, and ad- 
 vertising of this type is almost 100 per cent 
 effective. 
 
 Display frames in hotel lobbies, railroad sta- 
 tions, prominent windows, and like places should 
 
 249 
 
be arranged for when possible, and the display 
 therein changed regularly, frames maintained 
 carefully and proper attention given to the ex- 
 tension of "courtesies" to those from whom the 
 locations are secured. Arrangements in special 
 instances can often be made with the leading 
 merchants and laundries to enclose with each 
 bundle sent out during a certain day or days, 
 a herald descriptive of the show. 
 
 The dairymen of the city will probably ac- 
 cept, if furnished gratis, the little paper caps 
 for milk bottles, bearing a suitable advertise- 
 ment of the theatre. The cost is negligible. 
 
 Stickers may be used to good advantage, 
 though care should be taken to see that these 
 are not pasted in a manner to incur the wrath 
 or enmity of those in charge of the premises. 
 
 When people of unusual prominence, the 
 president, governor, or other well-known and 
 beloved characters visit the city, a box should 
 be placed at his disposal. The local baseball 
 team should be entertained with a box party; 
 the graduating class of the high school honored 
 thus and this thoughtful courtesy extended to 
 the local orphanage at certain matinees. It is 
 a decided advertisement for the theatre to have 
 a long line of orphans, in charge of nurses, file 
 down the main street and into the theatre every 
 
 250 
 
Tuesday or other "off" afternoon. It is an ad- 
 ditional asset to have the house known as the 
 one that will be attended by celebrities visiting 
 the city. 
 
 The theatre should be quick to associate 
 itself with patriotic and charitable movements 
 and to co-operate in such work. Any and every 
 activity looking to the improvement of the city, 
 civic beautification, etc., should meet with the 
 support of the theatre — and by these means it 
 may be securely entrenched in the affection and 
 respect of the leading citizens and their fam- 
 ilies. 
 
 If possible, arrangements should be made with 
 the street car company for conductors to an- 
 nounce the name of the theatre, at the stop 
 nearest it, in addition to the street, as "Main 
 Street, Palace Theatre." Usually the traction 
 company will co-operate in any consistent way 
 in helping along the theatre's publicity efforts. 
 
 A scheme that has been worked to good ad- 
 vantage in many instances is to have two or 
 three telephone girls call up each residence listed 
 in the directory and inform the person answer- 
 ing that there will be an exceptionally good 
 show at the theatre the following week. Those 
 entrusted with this work should also know the 
 scale of prices at the theatre, time of perform- 
 
 251 
 
ances, names of acts, etc. The manager should 
 be sure that they will take rebuffs gracefully, 
 and that the hours during which this telephon- 
 ing is done are selected with careful reference 
 to the housewife's occupations. The best hours 
 are between ten and eleven a.m. or two and 
 five P.M. 
 
 House-to-house distribution of dodgers, her- 
 alds and folders is always good, if carefully and 
 honestly done. It is wise to look up the city 
 ordinances before going into this sort of ad- 
 vertising; there is very seldom an ordinance 
 against house-to-house distributing, provided the 
 advertising matter is handed to someone in each 
 house; but many cities have regulations forbid- 
 ding the handing out of such matter to passers- 
 by on the street. Careless distributors, in a 
 rush to get the work finished, may cause trouble 
 for the theatre by violating some such ordinance. 
 Whenever possible, the territory to be covered 
 should be laid out in sections, through the use 
 of a map; this prevents duplication, promotes 
 system and permits the checking up of each 
 distributor. Girls will be found to be more 
 honest and careful than boys as distributors, 
 though care should be taken in either case in re- 
 gard to the observance of child-labor laws. 
 
 A morning show for newspaper men or lec- 
 
 262 
 
tures at some school or college by a suitable 
 artist who can arouse the proper interest, are 
 good forms of publicity. Form-letters sent 
 out to the right people from time to time, im- 
 parting to them some readable item of news 
 written in a short, attractive, crisj) style, about 
 the show or theatre, often create interest and 
 perhaps patronage. 
 
 The plan of having an "invitation" perform- 
 ance for the press or other selected craft or pro- 
 fession in connection with the work of some spe- 
 cial act nearly always results in favorable press 
 comment and desirable free publicity. 
 
 Anniversary weeks or nights, commemorating 
 the building or opening of the theatre, with ap- 
 propriate souvenir programs, etc., once each sea- 
 son, are usually good for increased patronage 
 and revived or increased interest. Holidays, lo- 
 cal and national, afford opportunity for special 
 features and decorations. 
 
 The field of "special advertising" is so vast as 
 to make it practically impossible to cover it en- 
 tirely; the suggestions herein, either in some 
 modified form or exactly as outlined, will be 
 found to work out well in actual practice; the 
 energetic, imaginative manager will work out 
 other equally good or better schemes — and upon 
 his initiative and discretion will depend the re- 
 
 263 
 
suit that follows upon putting them into prac- 
 tice. 
 
 The matter of slide advertising in the theatre 
 should receive careful attention. In this con- 
 nection the author urges that the theatre's screen 
 BE NOT made an advertising medium for any- 
 thing but the theatre. In other words, outside 
 slide advertising should not be accepted. It is 
 true that some revenue may be derived from 
 this, but it is not quite fair to charge patrons 
 for a seat, put them in it, turn off the lights and 
 then compel them to look at a weary succession 
 of announcements concerning this, that or the 
 other merchant's wares. The author has known 
 audiences to criticize audibly this practice. 
 They will cheerfully look at and be interested 
 in announcements concerning coming attrac- 
 tions, but they resent being forced (and it 
 amounts to forcing) to read a lot of advertise- 
 ments in which they are not interested at the 
 moment. This fact has become so well recog- 
 nized that many shrewd merchants will not use 
 screen advertising because they know that to a 
 certain extent people resent it and it has an 
 effect the reverse of that desired by the ad- 
 vertiser. 
 
 254 
 
It follows that the theatre's own slides should 
 be readable — brief and with a "punch" as to 
 their matter. 
 
 In this connection — a word regarding the 
 making of slides. If there is someone about 
 the house who can letter neatly, desirable slides 
 may be prepared by coating the glass with a 
 solution made of common whiting, water and a 
 little glue. Photographic opaque, purchasable 
 at any kodak supply house, may also be used. 
 After the coating has dried, then with a sharp 
 pencil point, or orange-wood stick, lettering 
 may be scratched through this coating, result- 
 ing in a slide showing a white letter on a black 
 backgroimd on the screen. The letters can be 
 tinted by placing colored gelatine between the 
 glasses. There should always be a protective 
 glass placed against the coated side of the slide, 
 and the edges fastened with passe-par-tout tape. 
 
 Then, too, there are photographic slides. 
 Most of the larger cities now have established 
 slide-making concerns and where there is one it 
 will probably be found best to use its facilities; 
 photographs of the acts and a copy of the billing 
 should be furnished by the theatre. These slides, 
 while costing a little more, are usually much 
 superior to the ones made in the theatre. 
 
 265 
 
A great many standard acts, besides their 
 usual offerings on the stage, are prepared to do 
 special stunts. A few of these are listed in 
 this article. There are many others, and as a 
 general proposition they will make known to 
 the manager the special things they do, and 
 suggest the manner in which they can be most 
 effectively utilized. 
 
 HouDiNi, the master magician, escaping from 
 
 a strait- jacket while suspended in the air. 
 Hardeen, jumping from bridge into body of 
 
 water while handcuffed. 
 Brindamour, escaping from locked cell of lo- 
 cal jail; also jumping into the water while 
 handcuffed and manacled. 
 Pauline, driving team of horses, while blind- 
 folded, through the principal streets, and 
 finding key hidden by committee. 
 Diving Nymphs, diving and swimming exhi- 
 bitions from some bridge in city. 
 Odiva, diving and swimming contests in tank 
 
 on stage. 
 Little Billy, receptions for children on stage 
 
 after matinee. 
 Master Gabriel, receptions for children on 
 
 stage after matinee. 
 Little Lord Roberts, receptions for children 
 on stage. 
 
 266 
 
Pelot, of the Pelots, catching turnips dropped 
 from high building on fork held in his 
 mouth. 
 
 Potter, of Potter and Hartwell, hand-bal- 
 ancing on cornice at top of high building. 
 
 Ward, of Ward and Usless, riding bicycle 
 around top edges of high building. 
 
 ALEXANDER Patty, of Patty Brothers, walk- 
 ing down steps of prominent building on 
 his head. 
 
 Johnny Reynolds, balancing on chair at 
 edge of top of building. 
 
 Edwards Davis, or the Rev. Frank Gor- 
 man, delivers sermon from pulpit of church 
 Sunday morning. 
 
 Singer's ]SIidgets, street parade. 
 
 Alice Teddy, roller skating bear, lobby stunts. 
 
 Gruber's Elephants, street parade. 
 
 Ching Lee Hee, and other Chinese troupes, 
 one member doing a "slide for life," sus- 
 pended by cue, from some high point out- 
 side theatre to the ground. 
 
 Willard's Temple of Music, lobby and 
 front-of-house musical festival. 
 
 Travilla Brothers, educated seal visiting 
 prominent persons and doing special 
 "stunts." 
 
 267 
 
Mr. Proxy, the man who looks like President 
 Wilson, special street and social "stunts." 
 
 The Vivians, outside sharpshooting and lec- 
 turing. 
 
 Mercedes, demonstrations of mental telep- 
 athy in Mayor's office ; really wonderful, and 
 usually receiving considerable notice from 
 press. 
 
 George M. Brown, long-distance walker, 
 hikes with Boy Scouts and local walking 
 contests. 
 
 WiLLARD, the man who grows; demonstra- 
 tions before medical clinics, etc. 
 
 Hale and Patterson, tango and dancing les- 
 sons on stage after matinees. 
 
 Charles Kellogg, the California naturalist, 
 riding about streets with auto made from 
 redwood tree; special invitation perform- 
 ance and demonstration on stage. 
 
 Noodles Fagan, talks to school children and 
 newsboys. 
 
 And many others, whose special "stunts" 
 of this sort may be made productive of much 
 interest to the patronage of the theatre during 
 the week they are on the bill. 
 
 Here follows a partial list of freak and un- 
 usual advertising "stunts," which, in the main, 
 are antiquated and unsuited to present-day 
 
 268 
 
uses; however, in communities where they have 
 never been done, and in houses whose prestige 
 will not be damaged by them, they may still be 
 "put over," though the practice is, frankly, not 
 recommended by the author: 
 
 The "Maggie Murphy" dummy on the street. 
 
 The "Bean Guessing" contest for prizes. 
 
 The "Stage Wedding." 
 
 The Coyne Advertising Kite and Balloons. 
 
 The Searchlight. 
 
 The "Prettiest Baby" Contest. 
 
 The "Barn Dance." 
 
 The "Cabaret" after Saturday night show. 
 
 The "Country Store." 
 
 The Monday Night "Prize Drawings." 
 
 The "Ladies' Free Tickets." 
 
 The "Ladies' Hat" Wednesday afternoons. 
 
 The "Grab Bag" for children Saturday after- 
 noons. 
 
 The "Morning Matinee." 
 
 The "Sleeping Beauty" in a store window. 
 
 The "Artificial Flower" matinee. 
 
 The "Giving Away a Live White Baby." 
 
 The "Necktie Party." 
 
 The "Red-Headed Woman" and "Fat Man" 
 matinee and night. 
 
 The "Painted Footprints" leading to the 
 theatre. 
 
 269 
 
The "Ad Card" on sidewalk held down by 
 bricks. 
 
 The "Pie and Melon" eating contest. 
 
 The "Sandwich Man." 
 
 The Wagon Sign Perambulator. 
 
 The Town Crier and Bell. 
 
 "Rubeing" the street with bicycle or horse 
 and wagon. 
 
 And last, but by no means least, "Amateur 
 Nights." 
 
 260 
 
CHAPTER V 
 
 UNIFORMS 
 
 THE better theatres in the larger cities 
 devote much attention to the uniforming 
 of the staff, and have been doing so for 
 some years; the inference is that if it were not 
 worth while from a dollars and cents standpoint, 
 they would not do it. 
 
 The simple facts are that uniforming the 
 staff lends a considerable dignity to the theatre, 
 is impressive and gives tone to the entire en- 
 terprise. Moreover, there is something in the 
 psychology of clothes. A man in a uniform is 
 marked; people know that he is vested with 
 more or less authority or represents those who 
 are, and he feels the dignity and responsibility 
 of the position which his uniform indicates. 
 
 The superintendent, door-men, ushers, foot- 
 man, maid, and other attaches in front of the 
 house, and such of the stage employees as now 
 
 261 
 
and then come "on stage" during a show for 
 the purpose of handling props, assisting acts, 
 or changing announcements, should be neatly 
 uniformed. 
 
 A uniform is impressive only if it is in good 
 taste, clean, neatly pressed and fits its wearer. 
 If faded, torn, patched, baggy or ill-fitting, it 
 might better not be worn. Also, it is bad taste 
 to uniform attaches in heavy cloth during the 
 summer time. 
 
 Many a manager, outfitting his staff without 
 giving this subject careful thought, has found 
 after a considerable expenditure that the uni- 
 forms, in color, material, fit or general appear- 
 ance, do not come up to the hopes justified by 
 the outlay, and the purpose of this article is, if 
 possible, to offer some suggestions based upon 
 actual experiences, which will make the invest- 
 ment in this equipment as "worth while" as 
 may be. 
 
 One should not go to the ordinary custom 
 tailor for uniforms, any more than to the har- 
 ness-maker for shoes; the making of uniforms 
 is a business unto itself, a distinct and separate 
 branch of tailoring requiring peculiar knowl- 
 edge. Uniforms must be of proper fit to look 
 well, so careful measurements and "try-ons" 
 are very necessary. 
 
 262 
 
The maker of uniforms should leave an "in- 
 lay" of one and a half inches in all seams, and 
 this should be stipulated in the order. 
 
 It is more profitable in the long run to pur- 
 chase a good quality of material, as it retains 
 shape and lasts much longer. 
 
 In selecting colors, bright and flashy shades 
 should be avoided. 
 
 At the close of winter and summer seasons, 
 when the change from one set of uniforms to 
 the other is made, those not in use should be 
 thoroughly repaired, cleaned and packed away 
 with some moth-protecting ingredient, so that 
 pressing will make them ready to wear. 
 
 Materials for winter use: Broadcloth, chev- 
 iots, flamiels, thibets and meltons; preferable 
 are broadcloth, cheviots and meltons. 
 
 Materials for summer use: Serges, worsteds, 
 mohairs, gabardines and white duck; preferable 
 are serges, mohairs and gabardines. The up- 
 keep of white duck makes it more expensive in 
 the long run than any other material, and as it 
 is not very "dressy," its desirability is ques- 
 tionable. 
 
 Colors : Navy blue, dark green, maroon, dark 
 brown and gray are more durable than the deli- 
 cate shades of mauve, plum, light maroon, old- 
 rose, light green and marine blue. 
 
 263 
 
Combination of colors and trimmings: The 
 combination is made chiefly of a lighter color 
 for trimming, finished with a narrow gold cord, 
 bringing out the high lights of the uniform. 
 This little touch of gold gives finish to the 
 garment. An effective and tasteful combina- 
 tion is a maroon background trimmed with a 
 bright American rose plush collar and cuffs 
 with a quarter-inch gold lace at top of and 
 around the collar and at top of the cuffs. A 
 gray serge uniform may be trimmed with dark 
 gray or black braid, the coat double-breasted 
 with five silver buttons on each side and braid 
 down each side of trousers. This uniform is used 
 very much on the Continent, and in many of the 
 high-class houses. Very light and inexpensive 
 uniforms for the hot summer months are made 
 of mohair in different shades and colors, such 
 as dark blue, dark green, dark brown and ma- 
 roon, trimmed with a narrow cord about 3/16 
 inch wide down each side of trousers and around 
 collar and cuffs. The cord may be of white, 
 silver, light blue, red, maroon or green, as will 
 best carry out the color scheme. 
 
 264 
 
Designs for Ushers' Uniforms 
 
 1. Five-button blouse, standing collar; black 
 trimming around collar and cuffs and down side 
 of trousers. 
 
 2. Fatigue coat trimmed with braid down 
 center of front, around the bottom, up the side 
 vents and around the collar and cuffs, down side 
 of trousers. 
 
 3. Uniform coat, standing collar, with five 
 buttons down the center and each side of front; 
 trimmed with gilt or colored braid around cuffs 
 and collar and down seam of trousers. 
 
 4. Standing collar with edge to edge opening 
 down center; finished with narrow soutach or 
 braid on edge of opening; six buttons on each 
 side of coat from shoulders down; trimmed 
 with heavy cord around cuffs and down seams 
 of trousers. 
 
 5. Civilian coat, lay-down collar and short 
 lapels; four buttons down front; straight cut. 
 
 6. Uniform page coat with standing collar; 
 one row of buttons down center, also down each 
 side of coat; trimmed with narrow gold cord 
 on cuffs and trouser seams. 
 
 7. Admiral coat with standing collar; cut- 
 away; six buttons down front and pleat in back, 
 with long trousers. 
 
 265 
 
8. Colonial uniform; cut-away coat with col- 
 lar opening at front or white jabot with 
 striped vestee attached; court breeches; white 
 stockings and black pumps. 
 
 Miscellaneous Uniforms 
 
 Door-man. Single-breasted frock coat to the 
 knee, with standing collar and braid down cen- 
 ter of coat; to fasten with hooks and eyes; 
 trimmed with black or colored velvet; collar 
 and cuffs finished with gold cord at edge. 
 
 Superintendent. Five-buttoned frock coat to 
 the knee; turned down collar with short lapels; 
 six buttons down the center and slashers back 
 of coat from waist down. 
 
 Policeman. Double-breasted frock coat; 
 standing or lay-down collar with large reveres; 
 to button across the breast with five buttons on 
 each side of the coat; pocket flaps to waist line 
 of coat and slashers in the back. Length of 
 coat four inches below the knee. 
 
 Porter. Standing or lay-down collar, four 
 or five buttons down the center; straight cut. 
 
 266 
 
On Stage. Double-breasted coat, standing 
 or lay-do^^^l collar; length of coat to the seat; 
 four or five buttons each side of coat, straight 
 cut; or, turned down collar buttoned to the 
 neck with five buttons down center, straight 
 cut. 
 
 Musicians. Musicians' or orchestra uniforms 
 to consist of dark maroon velvet coat, tuxedo 
 cut, with black velvet lapels and cuffs trimmed 
 with black or red cord; to fasten across with 
 one loop; one pocket on each side; black cloth 
 trousers trimmed with black braid. 
 
 Caps should be selected from pictorial cuts 
 or plates, as the styles and shapes are so many. 
 
 Girl Ushers' Uniforms 
 
 The girl ushers' uniforms are made in a great 
 variety of styles, from the simple house-dress 
 to the more elaborate costume, such as different 
 National dresses. These are made in such ma- 
 terials as poplin, serge, luster mohair, silk, satin 
 and floral satine. A unique girl usher's uni- 
 form is a tight fitting military coat, made of 
 tan broadcloth or khaki with standing military 
 collar, patch or imitation pockets, two lower 
 and two upper, belt of lighter shade, five but- 
 
 267 
 
tons down front and buttons at each pocket. 
 Skirt, three-quarter length. 
 
 A handsome uniform may be made of black 
 broadcloth. Coat with four buttons down 
 front, standing collar, military style, one side 
 having a large lapel set back against the coat 
 trimmed with two rows of gold cord around the 
 edges, and also around the coat and two rows 
 around the sleeves. Tight fitting skirt three- 
 quarter length trimmed with two rows of gold 
 cord on each side with four buttons between 
 the cords. 
 
 There are also the more conventional uni- 
 forms, such as three-quarter length black skirt, 
 black waist with white Georgette or linen collars 
 and cuffs, white frilled cap and French apron, 
 black patent leather pumps; or Quaker gray 
 dresses, pleated three-quarter length skirt, white 
 cuffs, collar, cap and apron, gray stockings and 
 pumps. 
 
 Programs, Advertising Curtains and 
 Concessions 
 
 Programs. No uniform method of announc- 
 ing or programming acts has been adopted 
 throughout the country, but the following three 
 systems are most in vogue: 
 
 268 
 
1. The use of a printed program in con- 
 junction with ilbiminated alphabetical or nu- 
 merical annunciators placed at each side of the 
 proscenium opening, which flash an initial or 
 number indicating which of the acts in the 
 printed program is next to appear. It is cus- 
 tomary to leave this number or initial illumin- 
 ated during one-half of the entire time that the 
 particular act is "on," 
 
 2. Framed cards with name of act upon 
 easels at both sides of the opening. The printed 
 program is sometimes, but not as a rule, used 
 with this system. 
 
 3. Illuminated glass transparencies at one or 
 both sides of opening, transparency showing 
 name of act, so arranged that only the names 
 are illuminated one at a time. 
 
 Any of these methods, properly handled, is 
 good; the first being probably the best, where 
 satisfactory arrangements for the furnishing of 
 a program can be effected. 
 
 In one way and another, the matter of fur- 
 nishing patrons with a printed program pre- 
 sents material difficulties, but against these dif- 
 ficulties is the possibility of its becoming a 
 source of considerable revenue. 
 
 It is customary to let the privilege of publish- 
 ing the program to an alert individual or ad- 
 
 269 
 
vertising agency, to fill with paid advertising 
 matter the space not devoted to title, billing 
 of acts, house notes and advance matter. 
 
 In making the contract covering this conces- 
 sion, it is suggested that the following points 
 have careful consideration: 
 
 1. That the party undertaking to furnish the 
 program be sufficiently established and of such 
 financial standing as reasonably assures his abil- 
 ity to furnish it continuously throughout the 
 period covered. 
 
 2. That it be distinctly understood that the 
 theatre is not liable for bills for printing, cuts 
 or other claims that may accrue against the 
 publisher. 
 
 3. That no advertisements in their nature not 
 acceptable to the theatre will be printed; such 
 as those of saloons, clairvoyants, "blood spe- 
 cialists," etc. 
 
 4. That the number of programs, books or 
 slips to be furnished be definitely stated, and 
 the date or day and hour for delivery thereof 
 be specified. Tardy delivery and insufficient 
 quantity of programs should be provided 
 against. 
 
 5. That the concession or privilege be not 
 sublet without written consent of the theatre. 
 
 270 
 
6. That a clear understanding be had of just 
 how much space will be allotted for the use of 
 the theatre, and of the grade of paper, and color 
 and cover stock. 
 
 7. That payments to the theatre of amounts 
 due for the concession be promptly made upon 
 the date due. 
 
 8. That if possible, a cash deposit or a satis- 
 factory bond protecting the theatre against loss 
 if concessionaire does not fulfill his contract, be 
 secured. 
 
 9. That provision against discontinuance of 
 concession without a certain term of notice in 
 writing by the party discontinuing be made. 
 
 The awarding of this concession should in- 
 variably be made the matter of a written agree- 
 ment, setting forth fully just what each party 
 undertakes, and never effected by a general 
 verbal understanding. 
 
 The amount to be paid by the concessionaire 
 for this privilege varies so widely in different 
 sections that suggestions on this point should 
 not be made here; it should be governed, fairly 
 and equitably to both parties, by local condi- 
 tions as to advertising possibilities and printing 
 costs. A copy of all contracts made for curtain 
 and program advertising should be filed with 
 the manager of theatre. 
 
 271 
 
Advertising Curtains 
 
 Usually the "street drop," and sometimes the 
 asbestos and house curtains also, carry a number 
 of advertisements, although in the larger first- 
 class theatres the ad-curtain is no more. As a 
 rule, the spaces for these curtains are quite 
 salable for greater or less amounts, depending 
 upon the class of theatre, number of perform- 
 ances per day, business the house is doing, etc. 
 As a general proposition, the spaces should be 
 leased for the "season" or at least for three- 
 month or quarterly periods. 
 
 There are several concerns making a specialty 
 of leasing the entire curtain privilege in thea- 
 tres, paying the house a certain fixed sum there- 
 for, and usually these concerns are responsi- 
 ble. 
 
 In making a contract covering this conces- 
 sion, it is suggested that the following points 
 receive particular attention: 
 
 1. The style of curtain or drop to be used, 
 the number of spaces thereon, and the general 
 design to be subject to the api^roval of the man- 
 agement. 
 
 2. The amount to be paid for the conces- 
 sion, and the periods of payment. If payment 
 
 272 
 
is to be made upon a percentage basis, a tripli- 
 cate copy of each contract made for space on 
 the curtain should be filed with the manager 
 of the theatre. 
 
 3. Advertisements not acceptable to the man- 
 agement shall not be placed upon the curtain. 
 
 4. A distinct understanding as to how often 
 or how long the curtain or drop is to be dis- 
 played at each show. 
 
 5. The responsibility of the concessionaire; 
 his ability to fulfill his obligations and the pro- 
 tection of the management by bond, cash de- 
 posit or other means. 
 
 6. Distinct understanding as to whose prop- 
 erty the curtain or drop is to be; this for the 
 reason that in some instances the concessionaire 
 furnishes, paints and re-paints a house curtain 
 or drop. 
 
 In many of the better-class theatres, street 
 drop or house curtain advertising is not per- 
 mitted. 
 
 Concessions. Candy and other concessions of 
 this kind are a source of considerable revenue 
 in many theatres, but in many of the first-class 
 houses these have been discontinued although a 
 few of such houses are still using the candy case 
 in foyer or lobby. In general, contracts cov- 
 
 273 
 
ering these concessions should specify the quality 
 of the products which are to be sold; the price 
 at which they are to be sold; the container 
 (guarding against paper bags that rustle 
 loudly) ; just what articles are to be dispensed 
 (chewing gum being very undesirable), etc. 
 The theatre should reserve the right to require 
 concessionaire to employ as dispensers only per- 
 sons satisfactory to the theatre, and to require 
 such dispensers to be neatly uniformed. A 
 badly behaved candy boy, a noisy "peddler" or 
 one who runs up and down aisles, or seats him- 
 self amongst patrons during the performance, is 
 not desirable — the management should have the 
 right to require the concessionaire to replace 
 him. 
 
 A peanut or popcorn stand, or similar enter- 
 prise, does not belong in the lobby of a well- 
 conducted theatre, and if candy is to be sold at 
 all, it should be dispensed from a case in lobby 
 or foyer, instead of by venders passing up and 
 down aisles. 
 
 Laundry, cleaning and pressing, baggage 
 hauling and business privileges of this type are 
 best left to be handled in accordance with the 
 requirements of local conditions, which vary so 
 greatly that it is impracticable to lay down any 
 general rule. 
 
 274 
 
Fire and Panics 
 
 A few years ago, in a mid-western city, a fire 
 occurred in a theatre which resulted in the death 
 of a great number of people. From time to 
 time other fires have occurred in theatres, with 
 heavy casualties, and the result of these has 
 been to breed in the mind of the public at large 
 a general distrust of any building in which 
 crowds gather and which is not as fireproof in 
 every way as human ingenuity can make it. 
 
 It follows that, aside from humanitarian con- 
 siderations, the "dollars and cents" instinct 
 should prompt the builder to construct his thea- 
 tre as nearly fireproof as possible and to equip 
 it with every known device to promote the safety 
 of its audiences. To just the extent that these 
 features are emphasized, and it is known that the 
 house is safe, will the public be encouraged to 
 patronize it. 
 
 Many mothers, bj^ instinct timid where their 
 offspring is concerned, inquire anxiously on this 
 point before permitting the children to make a 
 certain theatre their rendezvous on Saturday 
 afternoons and holidays; fathers wish to know 
 about these things, and the elderly and infirm are 
 loath to attend a performance in a theatre con- 
 
 276 
 
cerning the safety of which there is any ques- 
 tion. 
 
 Then, too — while the author has never ex- 
 perienced it and hopes he never will — the feel- 
 ing of responsibility resting upon a manager 
 or builder who has erected an unsafe house in 
 which lives have been lost, must be terrible, and 
 this thought should prompt the building of a 
 safe theatre in so far as that can be done. 
 
 No building is absolutely fireproof; concrete 
 and iron will twist, warp and disintegrate in 
 conflagrations. 
 
 The percentage of persons burned to death 
 in theatre fires has usually been small in com- 
 parison with the total casualty list; it is the 
 crush of the panic which is most deadly. In 
 fact, it does not need a fire to start a panic. A 
 fight; an unusual noise; a fuse burning out; 
 sparks from an electric short-circuit; an over- 
 loaded wire burning off insulation and filling 
 the house with a smoky odor; fire in another 
 building in the same block; a patron with an 
 epileptic fit; an unexpected commotion on the 
 stage or in the audience; the lights going out 
 suddenly; an unusually violent storm or clap of 
 thunder; lightning striking nearby; an actor 
 or animal falling into the orchestra pit; a lion 
 or other large animal becoming uncontrollable 
 
 276 
 
on stage; a false cry of "Fire!" by someont 
 in the audience or elsewhere; the breaking of 
 a sandbag permitting a lot of loose fine dust to 
 sift quickly down onto the stage; scenery or 
 border lights or main curtain falling; a fan or 
 chandelier falling into the audience; any un- 
 usual noise or commotion in the picture booth — 
 these or any one of an endless multitude of 
 other incidents may start a panic where there 
 is no fire, and in fact no danger, except that 
 from the panic itself. 
 
 Panic is contagious; ordinarily courageous, 
 brave men, and self-confident, well-balanced 
 women, will suddenly lose their poise, their 
 nerve, and become gibbering, pushing, slathering 
 idiots ; trampling over their fellows without com- 
 punction; straining, shoving and screaming, and 
 a panic, like a stampede of cattle, gathers mo- 
 mentum long after its original cause has ceased 
 to exist. 
 
 The greatest deterrents of panic are, first, 
 light, and second, light, and third, LIGHT. 
 If the lights do not fail, and people can look 
 about them and see what the conditions are, 
 they are not nearly so prone to unreasoning, 
 blind fear. Hence, the emphasis in this work 
 laid again and again upon the necessity of a safe 
 and proper wiring installation, control of house 
 
 277 
 
lights, not only from the stage, but by means of 
 remote control switches from the box-office, door- 
 man's station, and picture booth as well, and the 
 feeding of lines supplying exit and stair lights 
 from both front and back mains leading into the 
 theatre. After light, have music — the orches- 
 tra trained to play a lively march, preferably 
 patriotic ("Dixie" is suggested), and play it 
 LOUD. People, seeing the orchestra remain in 
 its seats, playing, are likely to sit down again 
 and refuse to be stampeded. 
 
 It is essential at a time like this that aisles be 
 of the approved widths, that exits be ample and 
 that these exits be equipped with the approved 
 devices for opening them from the inside. It 
 is important (and usually a requirement of 
 law) that all doors open outward, that alleys 
 and exit-ways be not blocked up with boxes 
 or any impeding articles — that there be a clear, 
 unobstructed outlet to the open. 
 
 It is essential that automobiles, etc., be not 
 PERMITTED to park in front of the theatre — it is 
 IMPORTANT that the entire front be left clear, to 
 provide quick egress across the sidewalk and into 
 the street, and to provide as well an open space 
 for the entry of the firemen, with their hose, etc., 
 if there is a fire and they do have to come in. 
 There must be room in front of the theatre for 
 
 278 
 
their apparatus, and unobstructed space in which 
 to work. Minutes lost here may cost hundreds 
 of lives and thousands of dollars. 
 
 If audiences know that the exits are ample, 
 that the aisles are wide, that the house is 
 fireproof, that the fire-extingiilshing equipment 
 is sufficient, that it is the custom of the man- 
 agement to pay attention to safeguarding pa- 
 trons, panic is much less likely to occur than 
 when publicity has not been given to these 
 points, or the public is not well informed con- 
 cerning them. 
 
 We know that the larger number of theatre 
 fires start after performances are over and the 
 house closed for the night. Next in number are 
 those which occur during a show, starting on 
 the stage, in a dressing-room, boiler-room or in 
 scenery, caused as a rule by electrical short-cir- 
 cuit or other trouble, cigarette stubs, discharge 
 of firearms, defective flues, or spontaneous com- 
 bustion of waste paper, oily cloths, etc. Usually, 
 the fire which starts during a show is extin- 
 guished before it does any damage, but it may 
 NOT be; hence the desirability of eliminating 
 EVERY POSSIBLE CAUSE of a firc. This involves 
 THOROUGH cleanliness around and behind radi- 
 ators, packs of scenery, and in corners, etc. It 
 involves precaution in the use of firearms, elec- 
 
 279 
 
trical equipment, and every apparatus which has 
 fire-making possibilities. 
 
 To reduce to a minimum the danger of and 
 from panic, the practice should be adopted of 
 printing in programs, and rinining on the 
 screen, an announcement that the theatre is pro- 
 vided with all safe-guards, and enumerating 
 them, calling attention to exit facilities, and 
 warning the audience against panics. This 
 should be done consistently, performance after 
 performance, year in and year out. Some day 
 it may prevent a terrible catastrophe and save 
 the management a harrowing memory. 
 
 Frequent inspection by the manager, and also 
 by the superintendent or stage-manager, of the 
 entire theatre and of the portions under their 
 respective control, should be made, and these 
 should be thorough, with a merciless checking 
 up of any employee or department found lax in 
 attention to fire-prevention practices. 
 
 A fire drill should be held weekly, at unex- 
 pected times, in which the entire crew and staff 
 should participate; each should have a station 
 to report to, a specific duty to perform. It 
 may be that when the fire comes some will not 
 do their duty, but most will and there is a de- 
 cided advantage in having them trained. When 
 a fire does start, let the rule be that an alarm 
 
 280 
 
is to be turned in immediately. Let no one take 
 unto himself the responsibility of checking it — 
 or of "thinking" that he can put it out; turn 
 in an alarm. No man has any right to assume 
 such a responsibility. Now this does not mean 
 that everyone should begin to run for a fire 
 alarm box; if there is one on stage (and there 
 should be) it should be adjacent to the switch- 
 board, and it should be the stage-manager's 
 duty to turn in the alarm himself, or instruct 
 the electrician, quietly, to do so. The box- 
 ofRce should be notified at once, and it in turn 
 should telephone in an alarm, to make sure that 
 the alarm does go in, and at once. Then, under 
 the stage-manager's direction, work of combat- 
 ing the fire, if on the stage, should commence. 
 The asbestos curtain should be lowered, all lights 
 turned on, orchestra signalled to play, and, if 
 possible, someone step out into the boxes from 
 the stage and urge the people, if they are becom- 
 ing panicky, to take their time and not push or 
 crowd. 
 
 The writer here offers a few suggested safe- 
 guards : 
 
 Minimum width of an exit and exit-door for 
 each five hundred persons or less should be 5 
 feet, and for every additional one hundred per- 
 sons 20 inches should be added to this width. 
 
 281 
 
Exit-doors should invariably swing outward, 
 and it is not sufficient that they merely open 
 outward, but they should swing entirely out of 
 the way and flat back against the wall. 
 
 All exit-doors should be plainly designated as 
 such in large, legible letters, and all other 
 doors which might be mistaken for exits should 
 be plainly marked "No Exit," or "Toilet," or 
 some other marking which will indicate imme- 
 diately that they are not exits. 
 
 Doors of exits to staircases should never open 
 directly upon the stairs, but upon a wide landing 
 between doors and stairs. 
 
 Exit-doors should invariably be provided 
 with "panic bolts," and never locked or even 
 equipped with locks for use with keys. 
 
 Stairways should be wide and easy, without 
 winding or single steps; long stairs should be 
 broken by wide landings, and all risers or treads 
 should be uniform, to prevent stumbling. 
 
 Strong, well fastened hand-rails should be 
 provided at both sides of stairways, and ex- 
 tremely wide stairs should be divided in the 
 middle with a hand-rail. No obstructions on 
 stairways should be permitted. 
 
 Aisles in auditorium should be of proper 
 width; dimensions of seats should be generous, 
 meaning 20 to 22 inches, for comfort's as well as 
 
 282 
 
safety's sake, and clearance between seats should 
 be ample. Seats should be securely fastened to 
 floor. 
 
 External fire-balconies and stairs should be 
 roofed over, and kept free and unobstructed. 
 
 Well-arranged, strongly built stairs should 
 lead from dressing-rooms to exits on stage, and 
 the actors' safety should be as well looked to as 
 that of the audience, though there is almost no 
 danger of panic back stage. 
 
 The use of candles, oil lamps, lanterns, etc., 
 should be positi\^ly prohibited; in these days 
 the miniature electric flash lamps should be used. 
 
 Fire-apparatus should be frequently inspected 
 and tested ; the chemical containers should be re- 
 newed not less often than once annually, under 
 supervision of someone designated by the local 
 fire chief. 
 
 Install latest and best make automatic 
 sprinkler system with tanks of ample capacity 
 on roof. This system should be regularly in- 
 spected. 
 
 The fly-gallery and back stage should be 
 equipped with fire-axes, pole hooks, durable 
 ladders, hatchets, and a number of painted gal- 
 vanized iron pails marked "For Use In Case of 
 Fire Only," these to be kept covered, and re- 
 filled weekly. 
 
 28S 
 
Install in two or more accessible locations on 
 each floor of auditorium, a hose reel, in recess 
 with glass framed, easy opening door, the nozzle 
 and hose to be connected, ready for use. 
 
 A fire-curtain of thick and strongly woven 
 asbestos cloth, running freely in iron guides, is 
 usually required by law; but should it chance 
 that the law does not require it in the reader's 
 locality, its installation is nevertheless urgently 
 recommended. 
 
 The vent opening in roof of stage, automatic 
 sprinkler system, fireproof and smokeproof cor- 
 ridors and stairways and fireproof construction 
 are all matters upon which volumes of informa- 
 tion are available, and the writer will not en- 
 deavor to go more deeply into the subject, feel- 
 ing sure that the reader appreciates its im- 
 portance, and will give it due consideration in 
 planning, erecting and operating his theatre. 
 
 Insurance 
 
 There should be no necessity to call attention 
 to the prime necessity of insuring a business 
 against every hazard for which insurance may 
 be had. Yet, in his travels, the writer finds 
 many theatrical enterprises not so insured, and 
 has known of many staggering losses occur- 
 ring through inattention to this matter. 
 
 284 
 
It is sound commercial practice to purchase 
 E^^ERY type of insurance protection which is 
 available for any business. The cost of insur- 
 ance is based upon the invariably accurate law 
 of averages obtained by actual experience, and 
 premiums charged are in accordance with the 
 risks assumed. 
 
 In constructing a theatre attention should be 
 
 given, AT THE TIME OF PLANNING AND BUILDING, 
 
 to the points Avhich will affect the cost of insur- 
 ance. In other words, reduce the risk to the min- 
 imum. For instance, in connection with the fire 
 risk, consider the installation of a sprinkler sys- 
 tem throughout the theatre; the height of walls 
 above the roof; construction of copings; open- 
 ings in walls adjoining other buildings; the con- 
 struction of proscenium wall and its height; 
 approved fire-doors and shutters on windows 
 worked by weights suspended by fusible links; 
 insulation of steam heating pipes; using only 
 "Underwriters' approved" electrical equipment 
 installed according to code, etc., etc. 
 
 Expert advice is available upon request to 
 any of the companies, who will gladly go into 
 detail on all points, instructing without cost 
 as to the best practice from safety and insur- 
 ance standpoints. 
 
 285 
 
In many cities these are all covered by local 
 building regulations and ordinances; in other 
 cities the requirements are not so rigid. In the 
 writer's opinion, it is advisable that at the 
 time plans are submitted to the local municipal 
 officials for approval in connection with issuance 
 of building permit, a duplicate set should be 
 submitted to an insurance authority for criti- 
 cism and advice. 
 
 A reduction of a few cents per hundred dol- 
 lars for insurance in effect over a period of 
 years, will more than pay for the slight addi- 
 tional cost of building right and safely in the 
 first place. And remember this: while the cost 
 of the insurance is thus being lowered, the haz- 
 ard is likewise being reduced, and the likelihood 
 of disaster of any sort is being brought to a 
 minimum. 
 
 Too much stress cannot be laid upon the im- 
 portance of READING POLICIES carcfully and thor- 
 oughly. It is too often assumed that the policy 
 covers this and that without actual knowledge 
 of just what its provision and coverages are. An 
 insiu'ance policy is like any other commercial 
 contract in that certain duties and acts are to be 
 performed by both parties. It should be seen to 
 that, as the insured party, the owner has a thor- 
 ough understanding of just what his duties under 
 
 286 
 
the contract are, and is equally well posted as to 
 just what the insurer has agreed to do. Do not 
 assume that he will do thus and so; know it by 
 clearly understanding just what he has agreed, 
 in writing, to do. This subject is deemed of suf- 
 ficient importance to justify repetition and the 
 citing of a case or two. 
 
 In a certain fire not only the property of 
 the theatre was destroyed, but as well a grand 
 piano and an expensive set of furniture which 
 had been borrowed as "props" and for which 
 the theatre was responsible. The insurance 
 company was not liable, merely because the in- 
 sured had not required that his policy should 
 cover such losses. He was only protected 
 against destruction of property of the theatre. 
 
 An electrician, repairing a sign on the front 
 of a theatre, dropped molten solder upon a 
 lady passing below. Public liability insurance 
 held by the theatre did not protect it in this 
 case, because the policy provided that it cov- 
 ered losses only in case of negligence on the 
 part of employees of the theatre, whereas, the 
 electrician in this instance was the employee of 
 a sign company, who had the sign on lease to 
 the theatre and was maintaining it in accord- 
 ance with a contract. Yet the court held that 
 the theatre was responsible for the actions of 
 
 287 
 
this man, and rendered a verdict against it. Both 
 the sign company and the theatre were made 
 parties to the suit, and it was the theatre which 
 paid the loss. A simple "rider" attached to the 
 public liability insurance policy would have 
 protected the theatre against this loss, and saved 
 it the considerable expense of defending the 
 suit. 
 
 A bonding company declined to make good 
 a treasurer's loss on the ground that he was 
 not provided with adequate means for taking 
 care of his money. Reading the policy brought 
 out the fact that the insurance was effective 
 ONLY if the treasurer was provided with a suit- 
 able iron safe in which to keep his funds. 
 
 Endless multiplication of such cases could 
 be cited; but the point desired to be made is 
 that policies should be carefully read and un- 
 derstood, and clauses inserted to make the pro- 
 tection accorded complete. The insurance com- 
 panies do not wish to evade their responsibilities, 
 or take refuge in technicalities, but they do ob- 
 ject to policies being construed as giving more 
 protection than is clearly undertaken by their 
 written terms, and will generally go into court to 
 defend themselves against loss on a risk that they 
 have not specifically and in writing assumed. 
 
 288 
 
Having emphasized the necessity of clearly 
 UNDERSTANDING just what protection is afforded, 
 the advisability of maintaining the following 
 classes of insurance is suggested: 
 
 Fidelity or Surety Bond 
 
 Manager, treasurer, assistant treasurer, and 
 any other employees who handle and account 
 for funds of theatre. Do not accept private or 
 personal bonds, but place this insurance in rep- 
 utable companies, and pay the premiums. 
 
 Burglary and Theft 
 
 Protecting the box-office, treasurer or assist- 
 ant treasurer on way to and from the bank; 
 also covering loss of valuable paintings, statu- 
 ary, draperies, etc., and effects of artists. 
 
 Fire 
 
 Covering not only property of the theatre, but 
 a blanket coverage of all property that may be 
 on loan for use in connection with the shows, 
 etc. Also specifically covering loss to artists and 
 acts of wardrobe, trunks, scenery and effects. 
 (Note: Most fire insurance policies require an- 
 nual inventories, in writing, to be made as a 
 condition of the policy remaining in effect. See 
 that this provision is complied with.) 
 
 289 
 
Public Liability 
 
 Study the coverage desired, and see that pol- 
 icy is explicit on all points. (Note. — Secure 
 protection not only within the four walls of the 
 theatre, but to the sidewalk line as well.) 
 
 Employer's Liability 
 
 Usually required by law. Read policies care- 
 fully. Premium based upon payroll and haz- 
 ard; keep records carefully and accurately. 
 
 Storm, Tornado, Lightning, Etc. 
 Secure coverage of borrowed "props," etc. 
 
 Plate Glass, Elevator 
 
 Read carefully and understand just what 
 protection is accorded. If coverage is not suf- 
 ficient, request "riders" to cover special points. 
 
 Steam Boiler 
 
 Cover borrowed "props," etc., and artists' 
 property, wardrobe, etc. 
 
 In conclusion it may be said that premium 
 rates are generally uniform in the various com- 
 panies, but regardless of this point only es- 
 tablished, reputable concerns of unquestioned 
 soundness should be accepted as insurers. 
 
 290 
 
The Orchestra 
 
 The orchestra may be made a decided draw- 
 ing card, featured in program and advertising 
 matter; or it may be just an orchestra. 
 
 Better three pieces and real musicians, than 
 eight or ten mediocre ones. Whatever its size, 
 every possible effort should be made to get 
 quality. Without real music, the average vaude- 
 ville show is decidedly handicapped. A poor 
 quartette of singers, for instance, can be almost 
 unbelievably improved through intelligent and 
 artistic playing of the violin and trombone in 
 the orchestra. 
 
 If it is possible to secure musicians who are 
 capable soloists, this should be done; solo num- 
 bers by the violin, cornet, trombone, etc., may 
 be featured in the program. To vaudeville, the 
 trap drummer is a necessity. 
 
 It is suggested that the following points re- 
 ceive attention in assembling the orchestra: 
 
 Leader: Violin or piano; needs for a vaude- 
 ville theatre, to be a patient and extremely ca- 
 pable musician. Sometimes he has to possess al- 
 most clairvoyant powers to interpret the needs 
 of some acts. He and his musicians will fre- 
 
 291 
 
qiiently have to contend with poorly written, 
 almost illegible music; it often reaches him 
 torn, blotted, pencilled and erased until it is 
 difficult to recognize it as music at all. It is 
 often the case that an act does not bring any 
 music, merely desiring a quick little waltz or 
 march for opening and closing a sketch, or ask- 
 ing the orchestra to "fake" this or that through- 
 out an acrobatic act, or during some "business." 
 It follows that the leader must be adept at 
 choosing a suitable number in keeping with the 
 spirit of the act. It also follows that the or- 
 chestra must be able to "fake" in good har- 
 mony. So far as the author knows, there is no 
 field of musical endeavor requiring quite so 
 much versatility, all-around ability, patience 
 and general musical knowledge as that of the 
 vaudeville orchestra. 
 
 Artists are prone to "cut" rehearsals, or to 
 shorten them to mere "flashes." Often the de- 
 scription of "business," cues and other informa- 
 tion given the leader and trap drummer is gar- 
 bled and insufficient. 
 
 In practice, the author has found it by far 
 the best to require rehearsals to the point where 
 the leader, orchestra and actor have each 
 reached a clear and definite understanding of 
 just exactly what is to be done, and how and 
 
 292 
 
when. This is sometimes trying to the patience 
 of all concerned, but it results in a good open- 
 ing performance and tends to remove the im- 
 pression the public often has that the first show 
 of the new bill is merely a dress rehearsal, re- 
 sulting in lighter attendance than would be the 
 rule if it were known that the first show were 
 likely to be as finished and smooth as the last. 
 
 The leader should make it an invariable cus- 
 tom to see each of the acts after the first show 
 and inquire if the music has been satisfactory, 
 and to give another rehearsal to any act re- 
 questing it. The conscientious leader will do 
 this willingly; the one who won't, has not the 
 interest of the house at heart, and should be 
 replaced with one who is interested and loyal 
 enough to feel that no effort is too great which 
 will result in an improvement of the show. 
 
 A leader will have many things to contend 
 with; not only the problem of keeping the men 
 under him up to a high standard, but as well of 
 maintaining pleasant relations with the artists. 
 He should bear in mind that he, in common with 
 all the other employees of the theatre, has but 
 one course to pursue if the house is to be a 
 success, and that is to do his best. Artists come 
 and go — some pleasant and agreeable, now and 
 then some decidedly otherwise. The closest co- 
 
 293 
 
operation between the artist and the orchestra is 
 absolutely essential if the show is to go well ; and 
 each should remember that anything tending to 
 make the show less of a success than it could be 
 operates to a corresponding extent to keep pa- 
 trons away from the box-office. 
 
 Overtures should be carefully chosen, varied 
 between classical and popular numbers, and 
 changed as often as the show changes. Now 
 and then, a "jazz" number is permissable, but 
 loud, brassy, clashing music should be avoided 
 as a rule. Muted instruments — a quiet tone — 
 real music — will be listened to and appreciated 
 by the audiences. It is suggested that "March- 
 ing Through Georgia" is a poor number to play 
 in southern territory; the sentiments of the lo- 
 cality in which the theatre is established should 
 be considered always. 
 
 The leader and the manager can and should 
 arouse interest in the orchestra as such; if they 
 do, it will soon have a decided following and 
 do much to cement the friendly feeling of the 
 public to the theatre. 
 
 It is better to feature the house orchestra 
 than the leader. If the leader resigns or is dis- 
 charged, the orchestra remains, with only one 
 place to fill. 
 
 294 
 
The leader should take care that during the 
 progress of the show there is no let-down — 
 that is, if there is an unavoidable stage-wait, 
 there should be some little incidental music 
 during it, not a special number but something 
 that will keep the audience quiet and prevent 
 straying of attention, starting of conversations, 
 etc. 
 
 The leader should be in responsible charge of 
 the orchestra, accountable only to the manager. 
 He should confer with the manager in selecting 
 overtures. Under no circumstances, should the 
 manager issue instructions direct to the sidemen, 
 but only through the leader. 
 
 At the appointed time, at least fifteen min- 
 utes before curtain, the orchestra should go 
 in the pit, and play continuously until the per- 
 formance starts. It is wise to discourage the 
 usual practice of an orchestra leaving the pit 
 during a silent act — a sketch or other offerin : 
 that does not require music. No matter how 
 quietly this is done, the movement in the pit is 
 disconcerting to the audience, attracts its atten- 
 tion in a minor degree perhaps, but none the 
 less effectively, from the act — and every now 
 and then one of the men will knock over a 
 chair or a music-stand. 
 
 295 
 
These are things concerning which the leader 
 should instruct his men, and the enforcing of 
 such regulations should receive the manager's 
 fullest co-operation. 
 
 The leader should have an ample library; 
 if he is not the type of man to take a keen 
 interest in making his orchestra the best in town 
 and to feel great pride in its accomplishments, 
 he is not the ideal one to engage. 
 
 Sidemen should be selected by the leader; he 
 will be responsible for their ability and conduct 
 in the theatre, and should have a free hand in 
 this matter; except that he should advise with 
 the manager, and only be overruled when the 
 latter is very sure that his position is correct. 
 
 Sobriety in the orchestra should be an abso- 
 lute requirement; taking liberties with the 
 music of acts, or "kidding" artists, should never 
 be permitted. Members of the orchestra should 
 never talk to patrons in front rows, or ogle ladies 
 in the audience. "Mashers" have no place here, 
 and should not be tolerated for a minute. 
 
 The number of pieces in orchestra will be gov- 
 erned largely by the amount of money to be 
 allotted for salaries. As a rule, however, it re- 
 quires a minimum of five pieces for anything 
 like good results; the instrumentation: Violin, 
 piano, cornet, trombone and trap drummer. If 
 
 296 
 
six pieces, add a clarinet; if seven, bass viol; if 
 eight, a flute; if nine, a second violin; if ten, 
 an organ for volume, tone and strength. A 
 greater number should be the subject of con- 
 sultation and agreement between manager and 
 leader, it being remembered that the latter is 
 probably familiar with the ability of the various 
 local men. It may be preferable to deviate 
 slightly from the instrumentation herein pro- 
 posed. It is well to make sure that a less suit- 
 able or desirable instrument is not being put in 
 merely to provide employment for the indi- 
 vidual who plays it. 
 
 The drummer should be chosen with a view 
 not only to his ability, but to his traps as well. 
 He should have a complete assortment of ef- 
 fects, chimes, xylophone, tympani, etc. 
 
 The "cue" light — a very small amber-colored 
 globe located where the leader (but not the 
 audience) can see it — should be flashed with a 
 switch or button at the switchboard on stage. 
 The use of a buzzer is not advisable, unless it 
 is very subdued, and the practice of flashing 
 the footlights or the orchestra lights is extremely 
 "small time." 
 
 The equipment of the pit should include a 
 bentwood chair and a music-stand of approved 
 design for each musician. Music-stand lights 
 
 297 
 
should be amber-colored, of small candle-power, 
 and so arranged that the light is reflected di- 
 rectly onto the music and not in the audience's 
 eyes. Some attention should be given to this 
 arrangement, as points of light standing out 
 sharply against the background of a dark stage 
 not only depreciate the beauty of the settings, 
 but strain the eyes of the audience. 
 
 If the theatre is not yet constructed, it is 
 urgently recommended that careful attention be 
 given to providing a pit of sufficient size, so 
 planned that an upright or grand piano can be 
 placed in it; also a small organ. Sufficient 
 space should be allowed at the drummer's end 
 for his traps, tympani, etc., and at the opposite 
 or bass viol end for the large and unwieldly 
 instrument. The pit must be low enough so 
 that the heads of the musicians will not project 
 above the line of the footlights. 
 
 There should be a speaking tube from the 
 switchboard on stage to the leader's stand. 
 
 If any untoward event happens while the 
 performance is on, such as fire or anything that 
 threatens panic, the orchestra should imme- 
 diately play a lively march, preferably some- 
 thing like "Dixie." 
 
 298 
 
The Vaudeville Artist 
 
 In the main a faithful, hardworking lot, liv- 
 ing in the land of fancy, inclined to be ego- 
 tistical, yet sensitive; temperamental, yet with 
 here and there a disconcerting strain of keen 
 foresight; often envious or jealous of the 
 progress or success of fellow artists; easily in- 
 fluenced and quick to take offense at real or 
 fancied belittlement of their own particular act 
 or style; ambitious for success in their chosen 
 field of effort — those children of "make-be- 
 lieve" are often actors on and off. 
 
 The artist, therefore, with his temperamental 
 shortcomings, his dislike often for sordid de- 
 tails, and much "camouflage," frequently does 
 not use shrewd or even good judgment in the 
 making of contracts, or in other business deal- 
 ings. It follows that now and then he is taken 
 advantage of by some unscrupulous manager 
 or sharp agent; and as a result he is often 
 prejudiced against all managers and agents. 
 There are some artists, and likewise some man- 
 agers and bookers, who are a discredit to the 
 profession; but these gi'ow constantly less in 
 number as it becomes better understood by all 
 concerned that the fittest survive; it is only 
 
 299 
 
the artist, manager or booker who is "on the 
 level" in business and in all other dealings who 
 is really "fit." 
 
 Remember then, that the artist's life, his very 
 existence, is one of art, imagination, uncer- 
 tainty, disappointments, laughter and happiness 
 mingled with tears and sorrows, and that he is 
 a cross between the bohemian and the cosmopo- 
 lite. It should be the aim of a manager to take 
 intelligent notice of these characteristics, and in 
 his business dealings with artists bear and for- 
 bear in a wise and just manner. It is an old 
 saw and a true one, that "you can catch more 
 flies with sugar than with vinegar." 
 
 Bear in mind that though the theatre be 
 beautiful, its stage perfectly equipped and 
 lighted, the staff efficient and courteous, it is the 
 artist who gives the show — it is to the actor that 
 one must look for the actual entertainment. 
 
 Though each manager may have his own 
 and perhaps peculiar idea of just what his atti- 
 tude toward the actor should be, and just 
 what rules and regulations should govern the 
 latter, the important points with respect to the 
 business side of the engagements are, or should 
 be, invariably covered by signed contracts. If 
 both will observe to the letter the stipulations 
 of the contract, and the manager meet in an 
 
 300 
 
open-minded, fair manner the little complaints 
 that now and then arise, there will he little room 
 for arguments, and probably very few will oc- 
 cur. 
 
 There are many clauses of the contract form 
 in general use to which artists as a rule fail to 
 accord the necessary recognition, and by so do 
 ing often create dissension. It usually suffices 
 to produce the manager's copy of the contract 
 and invite attention to the wording of the clause 
 which is being violated by either party. 
 
 Other things tending to create friction are: 
 
 Failure of the artist to send billing, plots 
 and photos sufficiently ahead to enable the man- 
 ager properly to advertise and prepare for the 
 act. 
 
 Reporting late for rehearsal without just 
 cause. This is frequently due to the artist's ar- 
 riving on the latest possible train, instead of 
 having taken from the preceding town the first 
 available train after his final performance there. 
 
 Transporting music in trunks instead of in 
 hand baggage, with result that when baggage 
 is delayed rehearsals must wait. 
 
 Failing to carry, if possible, enough suitable 
 wardrobe to enable the act to go on and "do 
 something" with a semblance of the regular 
 
 301 
 
act, when baggage has miscarried or been de- 
 layed. 
 
 Arguments concerning dressing-room as- 
 signment. This is a matter entirely up to the 
 management. 
 
 Complaining of "spot" or position on the 
 bill, another matter which, unless regulated 
 otherwise by express stipulation in the con- 
 tract, is entirely within the jurisdiction of the 
 manager — who may leave it to his booking 
 agent to arrange the running order of a pro- 
 gram. 
 
 Using profane, indecent, vulgar, suggestive 
 or other objectionable phrases, words or actions 
 in the act, and protesting against their elim- 
 ination by the management. 
 
 Protesting against the management's cutting 
 down time of act. 
 
 Insufficient rehearsals, inadequate to give the 
 orchestra, or others concerned in presentation of 
 the act, an accurate idea of just how it is to be 
 handled. 
 
 Quarrels as to priority of right to use a cer- 
 tain song or bit of music. It is the general cus- 
 tom to rule that the artist who first rehearses a 
 certain song has the prior right to use it on that 
 bill, and may legitimately ask that others on 
 the bill do not use it — though it is entirely 
 
 302 
 
within the jurisdiction of the management to 
 permit both, either or neither to use it. 
 
 "Cutting" or shortening the act on final per- 
 formances, unless by consent of the manage- 
 ment. The management has the right to expect 
 that the act will not be "cut" or changed, from 
 the way rehearsed, except with his consent. The 
 artist should not "cut," "change," or "cheat" 
 in his work, and should continue during the en- 
 tire engagement to do the act as at the first 
 approved performance. Otherwise he seriously 
 breaches his contract. 
 
 Disputes concerning the size of type used on 
 posters, the position allotted the act in lobby 
 display, on boards in front of the theatre or in 
 general outside advertising. These are mat- 
 ters entirely within the discretion and judg- 
 ment of the management, unless otherwise 
 specifically provided in the contract. 
 
 The artist should realize that as a general 
 rule the nomination of his position on the bill 
 has had careful attention from perhaps three 
 or four persons who have made a study of 
 "framing" bills, including the manager of the 
 theatre, and that these have arranged it with 
 the single idea of using each act to the best 
 advantage and with a view of properly bal- 
 ancing the entire program. 
 
 303 
 
The manager has the right, and may be ex- 
 pected to exercise it, of watching his opening 
 shows very carefully and, based upon his ob- 
 servations, of eliminating anything which, in 
 his judgment, he deems best to eliminate, from 
 any act. 
 
 The manager has the right to expect and 
 to receive from the artist his best efforts — all 
 the contract calls for — and receiving these from 
 the artist is obligated, morally and otherwise, 
 to do what he reasonably can to make the en- 
 gagement pleasant and profitable for the actor. 
 
 The deportment of the artist during his en- 
 gagement is of much importance. In the thea- 
 tre, on the street and at the hotel, it is due the 
 theatre that his conduct be discreet and becom- 
 ing. In a sense he is a walking advertisement 
 for the theatre; to a great degree the charac- 
 ter of the actor is judged by the public to be 
 that of both the theatre and the profession in 
 general, and it is the perfect right of the man- 
 agement to expect and require such conduct 
 as will reflect credit upon both. Many thou- 
 sands of dollars have been expended to give 
 the artist a place in which to play — an oppor- 
 tunity to offer his art; it is but fair that he 
 conduct himself as becomes a member of an 
 honorable and dignified calling. When his en- 
 
 304 
 
gagement is finished, he goes on his way, per- 
 haps never to return; but the theatre and its 
 local management remain, and must face such 
 comment as there may be from patrons and 
 others in the community. Let the artist see to 
 it, then, that his appreciation for the engage- 
 ment, respect for the theatre and loyalty to 
 the best traditions of the stage prompt him so 
 to conduct himself as will increase the prestige 
 of each. 
 
 A splendid rule for the government of both 
 parties in these matters is the Golden One — 
 it will never lead either far wrong. 
 
 Booking Affiliations 
 
 If the building of a new theatre is contem- 
 plated, and it is intended that its policy shall 
 be vaudeville, or for that matter any other 
 form of amusement, it will be well to look to 
 whatever booking affiliations may be estab- 
 lished. There have been cases where all con- 
 tracts had been let for the construction of a 
 house and operations thereupon actually 
 started, before the promoter or builder dis- 
 covered that the franchises for desirable at- 
 tractions were held by other parties for that 
 particular city, or that the town was so located 
 
 305 
 
that it was impracticable to connect it with any 
 of the circuits, on account of the distance from 
 the nearest town playing the desired shows. 
 
 The writer's suggestion as to procedure in 
 this matter is as follows: 
 
 The builder, or a representative of the prin- 
 cipal financial interests involved, should take up 
 with the strongest booking concern operating 
 in that territory the matter of securing a fran- 
 chise for the proposed theatre. 
 
 He should look carefully to the standing of 
 the concern with which he proposes to do busi- 
 ness and to which he intends extending the right 
 to furnish talent for his house. The reputation 
 of the booking office for keeping its engage- 
 ments and rendering satisfactory and efficient 
 service should be thoroughly investigated. Its 
 financial standing should be inquired into 
 through the builder's banker, and a commercial 
 agency as well. A trip to one or two of the 
 nearest towns in which that particular agency 
 is booking, and a discussion of the matter with 
 the managers of such houses, is advisable. 
 
 The often exaggerated promises of recently 
 established, weak or inefficiently conducted book- 
 ing offices should be discounted. It should be 
 assured that the promises made of service are 
 in keeping with what the office has been actually 
 
 306 
 
doing — not for a month or so, but over a period 
 of years. 
 
 Having made a thorough investigation of all 
 these matters, it is best to write that office which 
 on the surface seems best equipped to handle 
 the proposed bookings, and to make an appoint- 
 ment for an interview with the executive head 
 thereof. Only a personal interview can assure 
 the builder or manager that he is safeguarding 
 the future of his theatre. Money spent on these 
 preliminaries is by no means wasted. Indeed, 
 unless such safeguards are taken, the sums spent 
 on building and equipment are quite likely to 
 become a losing investment. 
 
 The practice of booking offices, as a general 
 proposition, is to issue to the theatre, a "fran- 
 chise" contract for its particular city, wherein 
 the office agrees during the term of the fran- 
 chise, not to book any other theatre in that city. 
 On the part of the proprietor, or manager, he 
 agrees to use exclusively such acts or attrac- 
 tions as are furnished by the office with which 
 he contracts for bookings. 
 
 The franchise in some instances carries a 
 bonding clause, wherein the proprietor or man- 
 ager is required to indemnify the booking office 
 against loss in connection with issuance of con- 
 tracts in the name of the theatre, and also 
 
 307 
 
against any violation of the terms of the fran- 
 chise contract. It authorizes the booking of- 
 fice to sign contracts in the name of the theatre, 
 to use its judgment in selecting talent, and cus- 
 tomarily establishes a certain limit of cost for 
 the average bill or week. 
 
 It is usual and justifiable for the booking 
 office to make a charge for its service. The 
 amount of this charge varies, depending upon 
 the size of the city and theatre, the class of at- 
 tractions, and other considerations. 
 
 Until it has been made sure, by personal in- 
 vestigation, that a strong booking affiliation 
 can be made, and a definite contract providing 
 therefor has been entered into, it is not wise to 
 build a theatre. 
 
 If the theatre is already built, and has per- 
 haps been in operation, but it is now proposed 
 to change the policy or present booking afiilia- 
 tion, the author would again impress upon his 
 reader the necessity for exercising the best pos- 
 sible judgment in selecting the service to be 
 used. 
 
 THE END 
 
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