If, however, the club insists on giving a modern play, it will have little difficulty in finding suitable material. It is well not to challenge comparison with professional productions by choosing plays which have had professional runs of late; try rather to select (1) good modern plays which by reason of their subject matter, form, etc., cannot under present conditions be commercially successful (like Granville Barker's "The Marrying of Ann Leete"); (2) translations of contemporary foreign plays which are not well known either to American readers or producers; and, finally (3) original plays. Here it is difficult to advise. It cannot be hoped that an amateur club will discover many masterpieces among original plays submitted to it, but if any of the works considered has even a touch of originality, some good characterization, any marked technical skill; in a word, if there is something interesting or promising, then it is worth producing. Doubtless many beginners are discouraged from writing plays for lack of experience gained by seeing their work staged; for such, the amateur club is the only resource.
Besides these particular considerations, there remain the minor but necessary points relating to rights and royalties. A full statement of the legal aspect of the case is to be found in the first appendix in this book.
[Illustration: "THE GROTESQUES", BY CLOYD HEAD. PRODUCED AT THE LITTLE THEATER, CHICAGO
A shallow cyclorama. The simple design forms an effective background for the grouping of the figures.
A great many more factors go into the making of a successful dramatic production than may at first be apparent. To organize a staff whose duty it is to furnish and equip a theater, hall, or schoolroom; to arrange and efficiently run rehearsals; to supply "props", costumes, and furniture; to manage the stage during the performance--all this is next in importance to the acting itself.
Of late years especially it has been made clear that the art of the theater, although it is a collaboration of the brains and hands of many persons, must be under the supervision of one dominating and far-seeing chief. That is to say, one person and one alone must be responsible for the entire production. Except in rare instances this head cannot know of and attend to each detail himself, but it is his business to see that the whole organization is formed and managed according to his wishes. The function of this ideal manager has been compared with that of the orchestral conductor: it is he who leads, and he should be the first to detect the slightest discord. While the foregoing remarks are more strictly applicable to acting and staging, it will readily be seen that if the same leader is not in touch with the more practical side of the production, there is likely to arise that working at cross-purposes which has ruined many an amateur as well as professional production. While a great deal of the actual work must be done by subordinates, it should be clearly understood that the director has the final word of authority.