{"id":6355,"date":"2019-12-18T19:53:47","date_gmt":"2019-12-19T00:53:47","guid":{"rendered":"http:\/\/susannaives.com\/wordpress\/?p=6355"},"modified":"2019-12-18T19:53:54","modified_gmt":"2019-12-19T00:53:54","slug":"making-it-on-the-victorian-stage-youve-been-cast-now-what","status":"publish","type":"post","link":"https:\/\/susannaives.com\/wordpress\/2019\/12\/making-it-on-the-victorian-stage-youve-been-cast-now-what\/","title":{"rendered":"Making It On The Victorian Stage – You’ve Been Cast! Now What?"},"content":{"rendered":"\n

Welcome to another installment of my Victorian theater post series! Leman Rede\u2019s book The Road To The Stage, Or, The Performer’s Preceptor<\/em>, first published in 1827, has sparked my imagination to write about an actor or actress character in a future book. Imagine the possibilities for a character who is knowledgeable of fencing, stage makeup, and maintains an expansive wardrobe of costumes and wigs! Perhaps such a character could find a murdered body in the Victorian London sewer system (as described by my post on the subject<\/a>) and, perhaps, might have to solve the mystery. See, there\u2019s a method to my blog madness 😊.

Originally I had intended to create three posts based upon the many incarnations of Mr. Rede\u2019s book.<\/em> However, I\u2019ve decided going forward to reduce the size of my blog posts in order to 1.) maintain my fragile sanity 2.) have more activity on my blog. \u00a0Therefore, I\u2019ll have a few more posts based on Mr. Lede\u2019s book in the future. Today, I\u2019m excerpting passages from a later Victorian version of his book titled The Guide To The Stage, Or, How To Enter The Theatrical Profession, Obtain An Engagement, And Become An Actor. Founded On And Partly Taken From Leman Rede’s Book.<\/em>

Enjoy!<\/p>\n\n\n\n

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Ellen Terry as Lady Macbeth<\/figcaption><\/figure><\/div>\n\n\n\n

Should you have been engaged prior to the commencement of the season, you will be called with the company by a notice in the papers, to attend a meeting in the green-room, generally two or three days before the theatre opens ; but if you are engaged any time during the acting season, you had better call at the Theatre every evening in order to ascertain whether your name is cast in any of the pieces. It has been customary in all well-ordered theatres, for the call-boy to notify at their place of residence, such of the performers as are in the pieces to be rehearsed; but I think you better manifest your early zeal by calling yourself, as I have stated.<\/p>\n\n\n\n

…<\/p>\n\n\n\n

The \ufb01rst thing after you receive a part, is to become perfect in the words as soon as possible; in a new piece, never be seen at the last rehearsal with the book or MS. in your hand.\u00a0 Should the play be in manuscript it will be read to the company in the green-room, to which you will pay particular attention. <\/p>\n\n\n\n

It is usual at the commencement of the season for the\nstage-manager to list upon the door of each dressing-room containing the names\nof the persons who are to occupy the apartment; but should this not be done,\nyou will consult the stage-manager at once. Having ascertained your room, and\nthe place which you are to occupy in dressing,<\/p>\n\n\n\n

You will next proceed to the wardrobe, and learn of the master or costumier what style or articles of dress you will have to be furnished with, in order that you may throw in what extras you may want from your private stock to make up the character; having settled all these matters, go home and select such articles and private properties as you will need for the night, and then read your part over.<\/p>\n\n\n\n

…<\/p>\n\n\n\n

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Willis Sayre Collection of Theatrical Photographs<\/a> <\/figcaption><\/figure><\/div>\n\n\n\n

When called to the theatre, be careful to make your\nappearance at the very time speci\ufb01ed, this will not only exhibit a commendable\ndevotion to your profession, induce a regularity in your business habits, and\nprevent your liability to a reproof from the stage-manager or prompter, and\nprevent a deduction from your week\u2019s salary as \u201c a forfeit.\u201d <\/p>\n\n\n\n

Upon entering the green-room \u2026 look at the cast case, see what you are concerned in, and make a memorandum of the parts, &c. If the plays be standard pieces, or such as published, it is expected that you will furnish your own books to study your parts from. Should the play or plays be in manuscript, a written part will be handed to you\u2014 this you will take care of, and give back to the prompter or call-boy, when the piece is withdrawn from the stage. <\/p>\n\n\n\n

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Sarah Siddons<\/figcaption><\/figure><\/div>\n\n\n\n

You will next look at the call-board, ascertain what pieces\nare called for rehearsal; the hour at which each rehearsal is to take place.\nShould you be concerned in any of the pieces called, see to getting the play,\nor the part that you are to perform, and study the words of the character, and\nthen appear at rehearsal at the stated-time, and go through your business,&c.\n<\/p>\n\n\n\n

Take a seat in the green-room, examine your part, ascertain\nwhich side of the stage you are to make our entrances and exit, the precise\nentrance or wing, and your cue for entering, which is the last line spoken\nprevious to your going on, and then wait quietly till you are summoned by the\ncall-boy, at which you will proceed immediately to your place of entrance,\narrange your manner of entering, and listen attentively for your cue. <\/p>\n\n\n\n

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Charles Kean<\/figcaption><\/figure>\n\n\n\n

At rehearsal, if there is any particular movement or action, technically termed “business \u201d for you to perform, the stage-manager or prompter will explain it to you, and show you how to go through it. <\/p>\n\n\n\n

Having rehearsed one scene\u2014should you have another, or anything\nfarther to do in the piece, retire to the green room, until you are again\ncalled ; never, under any circumstances, leave the theatre, or be out of the\nway, when you are liable to be called for the stage.<\/p>\n\n\n\n

It is the duty of the call-boy, to summon you from the\ngreen-room only, unless your presence is required in the music-room for some\nespecial purpose.<\/p>\n\n\n\n

Operas, ballets, pantomimes, and some particular pieces are\ngenerally called for by the act; that is all concerned in the piece, are\nsummoned at the commencement of each act, and are expected to be at their\nplaces of entrance, &c., without further notice.<\/p>\n\n\n\n

Should there be any changes made with your entrances, or in anything else at rehearsal, always mark your part according to such alterations, and also make a memorandum of the stage properties, which you are to carry on or use at night, in order to avoid trouble or dif\ufb01culty, in case the call-boy should forget or neglect to hand them to you.<\/p>\n\n\n\n

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Shhh… Edwardian Theater
Willis Sayre Collection of Theatrical Photographs<\/a> <\/figcaption><\/figure><\/div>\n\n\n\n

Be sure to check out the earlier posts in this series! <\/strong><\/p>\n\n\n\n

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Making It On The Victorian Stage \u2013 Do You Have What It Takes? And The Right Clothes?<\/a><\/blockquote>