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their services to and interests in the show may consist, would puzzle many theatre-goers to determine with any degree of accuracy. Let me take you "behind the scenes," as you may call it, but "back-stage," as we say in the theatre-world, in this matter and disclose the forces that move the puppets on the stage; the powerhouse that generates the current that moves the whole machinery of production. The intricacies of theatre management may come as a surprise to you. Chief of all comes the owner, the promoter, known to the profession as the Theatrical Manager. He it is who selects the author of his contemplated production, and also the writer of the lyrics and the composer of the musical score. He engages the producer, the creative genius who realizes the possibilities of the production and directs and rehearses it, and the principal actors and singers, and some of the members of the chorus as well, but the producing director usually recruits his own chorus and dancers. A most important step is the choice the manager is to make of a producer, or production director, on whom is to devolve the entire handling of all matters back of the curtain line from the day of his selection to the rising of the curtain on the initial public performance. He is well aware of the importance of this choice, and places his reliance only on a man known to be thoroughly experienced and competent in this line of work. Having selected him, the theatrical manager steps out of the picture and the producing director assumes control. And this control is absolute in his domain. Not even the power behind the throne, the man who placed him in his position, is allowed to interfere in any way whatsoever with his orders or plans. The wise theatrical manager possesses full knowledge of this and keeps hands off. Should he venture to countermand a single order of his producer, the latter would be certain to say "Take your show and direct it yourself," and walk out. And the reason why no producer of the first magnitude will brook interference, opposition or disobedience from any source is, that he is held strictly responsible to the owner for the form that the show takes and for the manner in which it is performed. His own reputation is always at stake in every production of which he accepts control. He makes the show a success, if he is that kind of a producer, and is entitled to the credit of successful accomplishment. If, on the other hand, he gain
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